Sergei Ivanov is a historical painter. Description of the painting in the village

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Dmitriev-Orenburgsky, Nikolai Dmitrievich, 1837-1898-Russian genre and battle painter.
Resurrection in the village

Village landscape

Portrait of N. D. Dmitriev-Orenburg by I. N. Kramskoy

Dmitriev-Orenburgsky Nikolay Dmitrievich - Russian genre and battle painter, graphic artist, academician and professor of the Imperial Academy of Arts. Born in 1838 in Nizhny Novgorod, was brought up in the house of his father and in the Ufa provincial gymnasium.

After the family moved to St. Petersburg, Dmitriev-Orenburgsky was preparing to enter the cadets, but on the advice of the famous painter Vasily Kuzmich Shebuev, he began to attend classes at the Imperial Academy of Arts. He studied in the class of Fyodor Antonovich Bruni, during his studies he received from the Academy for success in drawing and painting, four small and one large silver medals. The artist added the epithet Orenburg to his surname to distinguish it from other artists Dmitrievs.

In 1860 Dmitriev-Orenburgsky was awarded a secondary gold medal for the painting he painted according to the program: "Olympic Games". In the next two years, he painted pictures: "Grand Duchess Sofia Vitovitovna at the wedding of Grand Duke Vasily the Dark" and "Streletsky revolt", but did not receive any reward for his labors.

Grand Duchess Sofya Vitovtovna at the wedding of Grand Duke Vasily the Dark tears off the belt from Prince Vasily the Kosy

Shooting riot, 1862

In 1863, Dmitriev-Orenburgsky again took part in the competition for a gold medal of the first degree, but then, together with thirteen other young artists (the famous "riot of fourteen"), he refused to fulfill the academic program offered to the contestants. Leaving the Academy with the title of artist of the second degree, Dmitriev-Orenburgsky took part in the establishment of the Artel of Free Artists (which later became the Association of Traveling Art Exhibitions), a member of which he was until 1871. In 1868 Dmitriev-Orenburgsky was awarded the title of academician for the painting "The Drowned Man in the Village". In 1869, the painter accompanied the Grand Duke Nikolai Nikolaevich Romanov on his trip to the Caucasus, as well as to the Kharkov and Voronezh provinces. The result of this journey was an album of 42 drawings. In 1871, Dmitriev-Orenburgsky went to Europe at public expense, spent three years in Dusseldorf, where he used the advice of famous artists V. Vautier and L. Knaus, and then lived in Paris for a long time.

Drowned man in the village

In the capital of France, Dmitriev-Orenburgsky became one of the founders of the art association "Society of Russian Artists" (French branch), exhibited his paintings in annual Parisian salons, sometimes sent his works to St. Petersburg, the artist also performed etchings and drawings for Russian and French illustrated editions. In Paris, in the work of Dmitriev-Orenburgsky, there was a transition from genre to battle painting, the reason for which was the receipt of the Highest order for several paintings on subjects from the Russian-Turkish war of 1877-1878. For two of them ("The Battle on the Sistov Heights of the Convoy of Emperor Alexander II" and "The Emperor's Entry into the City of Ploesti") the Academy of Arts awarded him a professorship. In order to have all the necessary allowances for the execution of further paintings of the same series, Dmitriev-Orenburgsky returned in 1885 to permanent residence in St. Petersburg.

Among the artist's genre works, in addition to the above-mentioned painting "The Drowned Man in the Village", the best can be considered: "Two Minutes Stopping" (1878) and "Fire in the Village" (1885). A number of paintings by Dmitriev-Orenburg, reproducing various episodes of the last Russian-Turkish war, adorn the large Pompeyev Gallery in the Winter Palace. Dmitriev-Orenburg Nikolai Dmitrievich died in 1898 in St. Petersburg.

Fire in the village

Presentation of the captured Osman-Pasha to Alexander II in Plevna

An artillery battle near Plevna. A battery of siege weapons on the Grand Duke Mountain.

Bayonet battle of the regiments of the Russian guard with the Turkish infantry on the Sistov heights on June 14, 1877

Crossing the Danube

In his final years at the Moscow School of Painting, Sculpture and Architecture, Sergei Ivanov turns to acute social problems. In particular, his attention was attracted by a phenomenon characteristic of the Russian countryside in the last quarter of the 19th century: in the second half of the 1880s, resettlement to Siberia began.

On the image: “Migrants. Walkers ". 1886.

After the reform of 1861, the need arose to resolve the land issue. The government saw a way out in the resettlement of landless peasants in this vast sparsely populated region. In the last decades of the 19th century alone, several million peasants left their paltry plots, poor huts and went in search of "fertile lands."

On the picture: "Displaced person in a carriage", 1886.

Alone, with their wives and children, in small parties, taking their fragile belongings with them, on foot and by carts, and if they were lucky, even by rail, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards difficult trials and most often severe disappointments. The tragedy of landless peasants who left their ancestral places, from the central provinces to the outskirts of the country - to Siberia, and died in hundreds on the way - this is the main idea of \u200b\u200bIvanov's cycle of paintings. He captured the scenes of peasant life in deliberately dull, "mournful" in color paintings about the settlers.

On the picture: “On the road. Death of an immigrant ”. 1889.

From the mid-1890s, a new period began in the artist's work, associated with the creation of historical works. In the historical painting of Ivanov there are features that make him akin to the art of Surikov and Ryabushkin. The painter understands the state of the excited masses in acute dramatic moments ("Troubles", 1897, II Brodsky's Apartment Museum); "By the verdict of the veche", 1896, private collection), he is attracted by the strength of Russian folk characters and, like Ryabushkin, he finds beauty in the phenomena of folk life, confirms the understanding of this beauty by the Russian people. Ivanov sensitively captures the picturesque quest of time; his works of these years acquire a special coloristic sonority.

On the image: "Time of Troubles" (Tushino camp)

Ivanov was an innovator of the historical genre, composing episodes of the Russian Middle Ages - in the spirit of the Art Nouveau style - almost like motion pictures, capturing the viewer with their dynamic rhythm, “effect of presence” (Arrival of foreigners to Moscow in the 17th century, 1901); "King. XVI century "(1902), Hike of Muscovites. XVI century, 1903). In them, the artist took a fresh look at the historical past of his homeland, depicting not heroic moments of events, but scenes of everyday life from ancient Russian life. Some of the images are written with a touch of irony and grotesque. In 1908-13 he completed 18 works for the project "Pictures on Russian History".

On the image: "St. George's Day". 1908

On the image: "Campaign of the Troops of Moscow Rus", XVI century, painting in 1903.

On the picture: "Inspection of service people", no later than 1907

The peculiar features of nervous "proto-expressionism" showed with special force in the images of the first Russian revolution, including in the famous painting "Shooting" (1905, Historical and Revolutionary Museum "Krasnaya Presnya", branch of the State Center for Contemporary Art), which struck contemporaries with a piercingly desperate sound of protest.

During the armed uprising of 1905 in Moscow, he was a witness and participant - he helped students wounded in street battles right in the building of Moscow University on Mokhovaya Street. His drawings of gendarmes and Cossacks, who during the uprising lodged in the Manezh, near the Kremlin, have survived.

Later, the artist worked on the painting “They're Coming! Punitive detachment "(1905-1909, Tretyakov Gallery).

On the picture: They're coming! Punitive detachment.

Pictured: Family, 1907

In the picture: The arrival of the governor

Pictured: German, 1910

Pictured: Village riot, 1889

In the picture: At the prison. 1884 year

On the picture: Arrival of foreigners. 17th century. 1901 year

On the image: Boyar serfs. 1909 year

Biography of the artist, creative path. Gallery of pictures.

Ivanov Sergey Vasilievich

(1864 - 1910)

Ivanov Sergey Vasilievich, Russian painter. He studied at the Moscow School of Painting, Sculpture and Architecture (1878-82 and 1884-85) under I. M. Pryanishnikov, E. S. Sorokin and in the St. Petersburg Academy of Arts (1882-84). He lived in Moscow. He traveled a lot in Russia, in 1894 he visited Austria, Italy, France. Member of the Association of Traveling Art Exhibitions (since 1899) and one of the founders of the Union of Russian Artists. He taught at the Moscow School of Painting, Sculpture and Architecture (since 1900) and the Moscow Stroganov School of Art and Industry (since 1899). In the second half of the 1880s - early 1890s. worked on genre paintings (in which the landscape plays an important role), drawings and lithographs dedicated to the tragic fate of Russian peasants-migrants and prisoners of tsarist prisons ("At the prison", 1885, "On the road. Death of a migrant", 1889, - both paintings in Tretyakov Gallery). He took part in the revolutionary events of 1905 and was one of the first Russian artists to turn to the theme of the revolutionary struggle of the Russian peasantry and the proletariat ("Riot in the Countryside", 1889, "Shooting", 1905, - both paintings in the Museum of the USSR Revolution in Moscow; "Stage" , 1891, the painting has not survived; the etchings "Shooting", "At the Wall. Episode 1905", both between 1905 and 1910).

From 1895 I. turned to historical painting. The life of the people and the traits of the national character, their connection with the future destinies of Russia - such is the worldview basis of his historical paintings, sometimes embodying the spontaneous power of the popular movement ("Troubles", 1897, II Brodsky Museum-Apartment, Leningrad), sometimes with great convincing and historical authenticity (sometimes not without elements of social satire) recreating everyday scenes of the past ("The arrival of foreigners in Moscow in the 17th century", 1901, "Tsar. 16th century", 1902, both in the Tretyakov Gallery). In the work of I., a socially critical orientation is combined with the search for new compositional and color solutions that emotionally enrich the expressive possibilities of genre and historical painting. He also performed illustrations.

Lit .: Granovskiy I. N., S. V. Ivanov. Life and Work, M., 1962.

V. M. Petyushenko
TSB, 1969-1978

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Sergei Vasilievich Ivanov was born on June 16, 1864 in the city of Ruza, Moscow province, into an impoverished noble family. Childhood impressions of the stay in the homeland of his paternal and maternal ancestors in the Voronezh and Samara provinces remained in his memory for a long time and later found embodiment in his work.

He showed his ability to draw very early, but before entering the Moscow School of Painting, Sculpture and Architecture he had to study at the Moscow Land Survey Institute, where he taught drawing and drawing. The meeting of the future artist with P.P. Sinebatov, who graduated from the Academy of Arts, significantly changed his life. Taking his advice, he began to copy himself, and then in 1878 he submitted documents to the Moscow School of Painting, Sculpture and Architecture, which he first attended as an auditor. In 1882, after completing the scientific course and the figure class of the school, he transferred to the St. Petersburg Academy of Arts, but in 1884 he returned to Moscow. Distinctive qualities of Ivanov's character - independence and decisiveness, played an important role when he made a very brave act. In 1885 he left the school without even starting his graduation work. Fascinated by life topics, restless, striving for new impressions, he was not embarrassed that without a competitive picture, he would only receive a certificate for the title of a drawing teacher. He was much more interested in the idea of \u200b\u200bmaking a long trip to different provinces of Russia. The artist wanted to see with his own eyes how the fate of the migrant peasants, in huge crowds moving to the east of Russia, after the reforms carried out by P.A. Stolypin, in the hope of finding land and a better life, was developing. This great journey through Moscow, Ryazan, Vladimir, Samara, Orenburg and Voronezh provinces began in the spring of 1885. The result of it was a whole series of drawings, sketches and paintings about the life of immigrants, among them the most successful in terms of painting was a small canvas "Migrant in a Carriage". The painting appeared at a student exhibition in 1886 and was bought by V.D. Polenov, who treated the novice painter with great attention and care. I must say that Ivanov, also throughout his life, felt a friendly affection for Polenov. In the 1880s, he was a frequent visitor to his house, participating among other young people in Polenov's drawing evenings. “A Migrant in a Carriage”, which is close to a sketch in freshness of perception, was painted in the open air, not without the influence of Polenov, a master of plein air painting. The work amazed with the vitality of the scene, the bright sunlight, and the skillfully captured image of an old woman sitting in the carriage. A little later, other sketches and finished works appeared, among them: “Migrants. Lonely "," On the road. Death of an immigrant ”. In them, the theme of a hopeless peasant life is brought to the utmost degree of social acuteness and sounds just as powerful as in the best works of the Itinerants. Painting “On the road. The Death of a Migrant "was accepted for the XVII Traveling Exhibition, held in 1889.

In addition to his artistic abilities, Ivanov had a scientific mindset. During his travels, he always produced interesting ethnographic, architectural, everyday sketches and scientific descriptions. In the summer of 1886, in the Samara province, he came across the burial grounds of the Stone Age and became seriously interested in them. Over time, he gathered an interesting paleontological collection, part of which was donated to VD Polenov and placed in the Borok estate. His scientific and artistic interests prompted Ivanov to take up photography seriously. Many photographs taken during travels were then used in the work on historical paintings. The artist was a full member of the Russian Photographic and Geographical Mining Society.

S.V. Ivanov traveled a lot. In the summer of 1888, on his initiative, a joint trip along the Volga was organized with A.E. Arkhipov, S.A. Vinogradov and E.M. Khruslov. Many drawings and sketches have survived from this trip. In August of the same year, Ivanov went with an expedition to the Caucasus, with the aim of visiting little-known areas and reaching the peaks of the Big and Small Ararat. The book of the expedition members - E.P. Kovalevsky and E.S. Markov "On the Ararat Mountains", published in 1889, contains numerous drawings by S. Ivanov. In 1896 he ended up in Feodosia, and then traveled to Dagestan. In 1898 he made a trip to the Vyatka province, then proceeded to the Kalmyk and Kyrgyz steppes and to Lake Baskunchak. In 1899 and 1901 he was again drawn to the Volga. In 1894, he found himself in Europe, visiting Paris, Vienna, Venice, Milan and Genoa, but the ancient Russian cities - Rostov, Yaroslavl, Vologda, Zaraysk, which he visited more than once were dearer to him.

Since 1889, the artist was captured by the subject of prisoners for several years. Having received official permission to visit the prison, Ivanov spends almost all his time in prisons, sketching those there. Numerous sketches depicting severe faces and shaved heads tell about this. In 1891, for a month, he visited the Saratov Transit Prison every day. Then, having moved to Atkarsk, where prisoners were also held, he settled in a house opposite the prison and painted the pictures "Stage" and "Tatar in prayer". The latter depicts a full-length Muslim in a prison robe and skullcap, who performs his evening prayer.

Even working on a series of illustrations for the two-volume edition of M.Yu. Lermontov, undertaken by P.P. Konchalovsky in the publishing house of Kushnerev, he continued his "prison series". Of the fifteen illustrations, almost all, in one way or another, are related to this topic. Illustrating the poems: "Desire", "Prisoner", "Neighbor", he did not seek to convey the romantic character of Lermontov's poetry, but interpreted them literally and reliably, using nature and those sketches that were performed in the Makaryevsky prison.

In 1894, wishing to get new impressions, as well as to renew his art, which, in his opinion, had reached a dead end, S.V. Ivanov and his wife made a trip to Europe. The artist intended to spend a whole year in France, living in Paris, but the impressions received from this city and the state of modern Western art deeply disappointed him. He wrote to the artist AA Kiselev about this trip: “It's good now in Russia. Although I have only been here in Paris for a month, I am beginning to yearn for space. I saw Salons and other exhibitions, and they did not give me what I expected, here out of 3000 things I found only 100, which can be stopped ... the absence of life is striking. " In another letter to the same addressee, he sadly states: "There is now nothing good here and there is no point in going here to study." Three months later the Ivanovs returned to Moscow.

However, this trip was not in vain, the heightened feeling of love for the homeland that surged in Europe and modern French painting, no matter how negatively the painter perceived it, was reflected in his work. From 1895 he began to work on the historical genre, and his writing style became noticeably liberated. The study of the History of the Russian State by N.M. Karamzin also contributed to the fascination with history.

The first plot that interested the artist was associated with the history of the Time of Troubles. A large canvas called "Troubles" was painted in 1897 in the ancient city of Zaraysk. The painting depicts a raging crowd in expressive poses, mending their cruel trial against Grishka Otrepiev. Working on it, the artist strove to recreate the era as accurately as possible, depicting in the work original costumes and ancient weapons: shields, sabers, axes, which he had previously sketched in the Hermitage Museum. At the Novgorod bazaar, he managed to acquire several old things, and historical works helped him, which he carefully studied: "The Legend of Mass and Herkman about the Time of Troubles in Russia" and "Legends of his contemporaries about Dimitri the Pretender." However, despite the careful execution, this work, as Ivanov expected, was not accepted for any exhibition.

But the next one is “In the forest. In memory of Stephen of Perm and other enlighteners of foreigners ”, in which he found a successful compositional form for conveying the deep Christian idea of \u200b\u200benlightenment of pagan tribes, was taken to the Traveling Exhibition of 1899, at the same time he became a full member of the Association of Itinerants.

In the same years, in parallel, Ivanov worked on illustrations for the works of A.S. Pushkin, published in 1898-1899 by the publishing house Kushnerev. He was attracted by the opportunity to reflect Russian history in the story "The Captain's Daughter" and "Songs about Oleg the Wing", which he chose for illustration. The artist was especially interested in the image of Emelyan Pugachev. For him, he painted several portraits, including his "Self-portrait in a hat", called angry. But the best still was the illustration depicting Prince Oleg and the magician.

In 1901 S.V. Ivanov caused great surprise by showing at the exhibition 36 of his new creation - the painting “The Arrival of Foreigners. XVII century ”, which Pavel Tretyakov bought immediately before the opening of the exhibition. The impression was that this canvas, as well as the following - “Tsar. XVI century ”was written by another author. Compositional freedom unprecedented before and the use of bright, almost local colors made the picture unusual and decorative. Huge fluffy snowdrifts, small log houses, churches, painted with great feeling, conveying the feeling of frosty air and patriarchal comfort allowed to fill a scene from the past with poetry and give it reality. The figures and faces of an old man in a long-fur coat with a large bundle of bagels in his hand and a young lady whom he hastens to take away are very expressive. Writer and publicist G.A. Machtet, congratulating the artist on this painting, wrote: “How the colossal genius of Viktor Vasnetsov, having plunged into the high native epic, gives it to us in images, recreating the ideas of the people, its concepts, its“ beauty ”, teaching us to understand“ the soul of the people, "- in your painting" The Arrival of Guests "you recreate our past and our distant ... I breathed that wild Moscow, - I could not take my eyes off this stern barbarian, leading the stupid fearful Fedora away from the enemy's" eyes. "

In 1903 Ivanov visited the village of Svistukhe, Dmitrovsky district, Moscow province, and was immediately captivated by a quiet picturesque place on the banks of the Yakhroma River. He lived here for the last seven years, having built a small house and a workshop according to his project. Here he painted one of his best paintings "The Family". It is painted on a large canvas, which certainly indicates the importance that the artist attached to his work. It depicts a line of people marching through the fluffy snow through the entire village with special solemnity and grandeur. The canvas is executed in a free, pasty manner of writing with the use of a bright colorful palette, in which white, yellow, red and blue tones prevail. It strikes with an optimistic and life-affirming attitude. The landscape played a huge role in revealing the emotional structure of the work. He has truly become one of the main characters. Ivanov painted nature, as well as sketches of peasants, in the open air in winter, having constructed for this purpose a specially heated workshop on a sled.

In 1903 S.V. Ivanov took a great part in the creation of the creative association "Union of Russian Artists". To a large extent, it arose thanks to his organizational qualities and a fighting, decisive character. Immediately after the appearance of the "Union", the artist left the Association of Traveling Art Exhibitions and until the end of his days exhibited only here. Ivanov's passionate character, who literally "threw him on the barricades," was noted by everyone who knew him. During the 1905 revolution, he not only showed sympathy for the rebels, but, like VA Serov, created many graphic and pictorial works on this topic, including the painting "Shooting".

An interesting characterization of S.V. Ivanov, still a student of the school, was given by M.V. Nesterov in his memoirs. He wrote: “He looked like a rebellious student, ragged, long legs, swirling head. Hot ardent person, sincere passionate hobbies. He always helped speech with his gesture, deliberately passionate. Direct, impeccably honest, and attracted everything in him ... Ivanov, seemingly stern, often showed his youthful enthusiasm and energy, infecting others. He loved to be a horse breeder in undertakings, but if some undertaking failed, then he was discouraged. Sometimes his comrades laughed at him for this. The rebellious nature of the "hellish arsonist" ... Ardent and hot, he sometimes gave the impression of a harsh, even despotic person, but underneath this was a very deep and gentle nature. This beautiful verbal portrait complements the visual one, executed in 1903 by the artist I.E. Braz. From him the gaze of a person is directed with great sorrow and tension looking into this difficult world.
S.V. Ivanov died suddenly of a heart attack on August 16, 1910 in the village of Svistukhe, where he had lived quietly in recent years.

An artist of outstanding talent, Ivanov was born in Ruza, Moscow province, into the family of an official. Studied at the Moscow School of Painting, Sculpture and Architecture (1878-1882, 1884-1885) under I.M. Pryanishnikov and the Academy of Arts in St. Petersburg.

From the very beginning, the focus of his works is quite obvious: the history of Russia in the past and present. The first picture “On the Road. Death of an Immigrant ”(1889), which brought the artist fame, was painted in the style of the early works of the Itinerants, but the attitude to what was happening was different. The death of the breadwinner, the loneliness of an orphaned family - is emphasized by the desert landscape of the scorched steppe. In the painting, the artist actively used the artistic means of composition. Continuing traditions, Ivanov strove for dramatic art, sensitively conveying the "beat of the human soul", which was embodied in paintings about the life of peasants ("To the landowner with a request", 1885) and "prisoner" themes ("Stage", 1892).

Ivanov's search for new compositional and color solutions - unexpected angles, decorativeness of flat color spots led the artist to participate in the creation of the Union of Russian Artists.

In 1900, the influence of impressionism became more and more noticeable in the work of S. Ivanov. The transfer of the light-air environment highlights the main objects of the compositions. The artist's works are characterized by a laconic-pointed interpretation of images.

Since the end of the 1890s, the artist worked mainly on paintings from the Russian past. In the past, Russia, the artist was attracted primarily by sharp dramatic moments, the strength of Russian folk characters ("The March of the Muscovites. XVI century", 1903), the beauty of ancient life ("Family", 1910). Ivanov's works from the life of a hoar, boyars, were imbued with evil irony, demonstrating the historical roots of such phenomena as dense philistinism and dignified arrogance. In 1902, at the exhibition "Union 36" Ivanov presented the painting "Tsar. XVI century ". A winter day, a parade cortege is moving along a Moscow street, at the head of which gridni (guards) in red caftans are solemnly marching. On a splendidly decorated horse, in rich clothes, rides the king, fat and clumsy, with a pompous linden tree raised up. But Lyuli, buried in the snow in an attack of submissive feeling, cannot appreciate the "greatness of the moment." Using the technique of "highlighted composition", the artist brought the image as close as possible to the viewer, as if creating the "effect of presence" inside. This work is distinguished by a bright color system, expressive silhouette solutions, free painting.

In search of a new pictorial language, Ivanov was an innovator of the historical genre: his canvases resembled frozen film frames, capturing the viewer with their dynamic rhythm ("The Arrival of Foreigners in Moscow in the 17th Century", 1901). The last work of the artist was a cycle about the events of 1905 ("Shooting").

Life in the Russian countryside was hard. The so-called resettlement question worried many representatives of advanced Russian culture and art in those years. Even V.G. Perov, the founder of critical realism, did not ignore this topic. For example, his drawing "The Death of a Migrant" is known.
The settlers made a painful impression on A.P. Chekhov, who traveled in 1890 on the road to Sakhalin through the whole of Siberia. Under the influence of conversations with Chekhov, he traveled along the Volga and Kama, to the Urals, and from there to Siberia and N. Teleshov. “Beyond the Urals, I saw the exhausting life of our migrants,” he recalled, “almost fabulous hardships and hardships of the people's muzhik life.”

Ivanov spent a good half of his life traveling around Russia, carefully, with keen interest, getting to know the life of the many-sided working people. In these incessant wanderings, he also became acquainted with the life of the immigrants. "Many tens of miles he walked with them in the dust of the roads, in the rain, bad weather and the scorching sun in the steppes," Ivanov's friends say, "he spent many nights with them, filling his albums with drawings and notes, many tragic scenes passed before his eyes."

Powerless to help these people, the artist painfully thought about the immeasurable tragedy of their position and the deceitfulness of their dreams of "happiness", which they were not destined to find in the conditions of tsarist Russia.

In the late 1880s, Ivanov conceived a large series of paintings, consistently telling about the life of the settlers. In the first picture - "Russia Is Coming" - the artist wanted to show the beginning of their journey, when people are still vigorous, healthy and full of bright hopes. “Migrants. Walkers ".1886 .

One of the final pictures of the cycle - “On the road. The Death of an Immigrant ”is the most powerful work of the planned series. Other works on this topic, created earlier and later by a number of writers and artists, did not reveal so deeply and at the same time so simply the tragedy of immigrants in all its terrible truth.

"On the road. Death of an immigrant ”. 1889

The steppe heated by the heat. A light haze extinguishes the horizon line. This sun-scorched desert land seems boundless. Here is a lonely displaced family. Apparently, the last extreme forced her to stop at this bare place, not protected by anything from the scorching sunlight.

The head of the family, the breadwinner, died. What awaits the unfortunate mother and daughter in the future - everyone involuntarily asks himself such a question when looking at a picture. And the answer is clear. It is read in the figure of the mother, spread out on the bare ground. The grief-stricken woman has no words and no tears.

In silent despair, she scratches the dry earth with her crooked fingers. We read the same answer in the confused, blackened, like an extinguished coal, face of the girl, in her eyes frozen with horror, in all her numb emaciated figure. There is no hope for any help!

But quite recently, life glimmered in a small transportable house. The fire was crackling, a meager dinner was being prepared, the hostess was busy by the fire. The whole family dreamed that somewhere far away, in an unknown, blessed land, a new, happy life would soon begin for her.

Now everything was crumbling. The main employee died, apparently, the emaciated horse also fell. The collar and the arc are no longer needed: they are carelessly thrown near the cart. The fire in the hearth went out. An overturned ladle, the bare sticks of an empty tripod, stretched out like arms, empty shafts in mute anguish — how hopelessly sad and tragic all this is!

Migrants (Return Migrants), 1888

Ivanov deliberately sought just such an impression. Like Perov in "The Dead Man's Ways", he closed his grief with a narrow circle of family, abandoning the figures of sympathetic women who were in the preliminary sketch of the painting. Wishing to further emphasize the doom of the settlers, the artist decided not to include the horse, which was also in the sketch, into the picture. ...

The power of Ivanov's painting is not limited to the truthful transmission of a specific moment. This work is a typical image of peasant life in post-reform Russia.

Sources.

http://www.russianculture.ru/formp.asp?ID\u003d80&full

http://www.rodon.org/art-080808191839

Let's start with the reasons for moving to Siberia. The main reason for resettlement in the post-reform era is economic. The peasants believed that they would live better in Siberia than in their homeland, because in their homeland all the suitable land has already been plowed up, the population is growing rapidly (1.7-2% per year) and the amount of land per person decreases accordingly, while in Siberia for cultivating the land is practically endless. Where rumors of a rich life in Siberia spread among the peasants, there was a desire for resettlement. The resettlement champions were the black earth, but densely populated and very poor Kursk, Voronezh and Tambov provinces. It is interesting that non-chernozem (and especially northern) peasants were inclined to resettlement to a much lesser extent, although they were deprived of the benefits of nature - they preferred to develop all kinds of non-agricultural extra work.

Did the unfortunate characters of the picture travel from the Tambov province to Siberia on this small cart? Of course not. This kind of hardcore ended way back in the 1850s. The railway reached Tyumen in 1885. Those wishing to move to Siberia went to the station closest to their place of residence and ordered a freight car. In such a car, small (6.4x2.7m) and not insulated, it was just that - in terrible tightness and in the cold - a peasant family with a horse, a cow, a grain supply (for the first year and sowing) and hay, implements and household items was placed. The car moved at a speed of 150-200 km per day, that is, the journey from Tambov took a couple of weeks.

It was necessary to get to Tyumen by the earliest possible time for the opening of the Irtysh, that is, by the beginning of March, and wait for the ice drift (which could have happened either immediately, or in a month and a half). The living conditions for the settlers were Spartan - primitive boardwalks, and for the most unlucky ones - straw huts on the shore. Let's remind that in March it is still cold in Tyumen, on average down to -10.

The ice drift passed, and from Tyumen, down the Irtysh and then up the Ob, few and expensive steamers set off (a steamer is expensive and difficult to build on a river that does not communicate with the rest of the country either by sea or by rail). There was a desperate shortage of space on the ships, so they dragged along a line of primitive deckless barges. The barges, which did not even have an elementary shelter from the rain, were so packed with people that there was nowhere to lie down. And even such barges were not enough for everyone, and to stay until the second voyage to Tyumen - to skip the whole summer, in which it was necessary to organize the economy. It is not surprising that boarding steamers due to disorganization and seething passions resembled the evacuation of Denikin's army from Novorossiysk. The bulk of the migrants (and there were 30-40 thousand of them a year), heading for Altai, got off the steamer in the rapidly growing Barnaul, and if the water was high, then even further, in Biysk. From Tyumen to Tomsk by water 2400 km, to Barnaul - more than 3000. For an old steamer, barely dragging along the numerous rifts in the upper reaches of the river, it is one and a half to two months.

In Barnaul (or Biysk) the shortest, overland part of the journey began. Places available for settlement were in the foothills of Altai, 100-200-300 km from the pier. The settlers bought carts made by local artisans at the pier (and those who did not bring a horse with them - and horses) and set off. Of course, the entire peasant inventory and stock of seeds cannot fit on one cart (in the ideal case, lifting 700-800 kg), but the peasant needs just one cart on the farm. Therefore, those wishing to settle closer to the pier gave their property for storage and made several trips, and those who set off on a longer journey hired at least one more carriage.

This circumstance can explain the absence in the cart of the migrant in the picture of the bulky objects necessary for the peasant - plows, harrows, grain in bags. Either this property is stored in a storage shed on the pier and is waiting for a second trip, or the peasant hired a cart and sent his teenage son and a cow with it, and he himself, with his wife, daughter and compact inventory, quickly went to the proposed settlement site in order to choose a site for himself.

Where exactly and on what legal basis was our migrant going to settle? The practices that existed then were different. Some followed the legal path and were assigned to existing rural societies. While the Siberian communities (which consisted of the same settlers of previous years) had a large supply of land, they willingly accepted newcomers for nothing, then, after parsing the best lands, for an entrance fee, and then they began to refuse altogether. In some absolutely insufficient amount, the treasury prepared and marked the resettlement areas. But most of the settlers in the described era (1880s) were engaged in self-seizure of the state (but completely unnecessary treasury) land, boldly founding illegal farms and villages. The treasury did not understand how to document the current situation, and simply closed its eyes, not interfering with the peasants and not driving them off the land - until 1917, the lands of the settlers were not registered as property. However, this did not prevent the treasury from taxing illegal peasants on a general basis.

What fate would await the immigrant if he had not died? Nobody could have foreseen this. Approximately one fifth of the immigrants in that era did not manage to settle down in Siberia. There were not enough hands, there was not enough money and equipment, the first year of management turned out to be a poor harvest, illness or death of family members - all this led to a return to their homeland. At the same time, most often, the house of the returnees was sold, the money was spent - that is, they returned to take root with their relatives, and this was the social bottom of the village. Note that those who chose the legal path, that is, those who left their rural society, found themselves in the worst position - their fellow villagers could simply not accept them back. The illegal aliens at least had the right to go back and get their allotment. Those who took root in Siberia had a variety of successes - the distribution to rich, medium and poor households did not differ significantly from the center of Russia. Without going into statistical details, we can say that only a few got richer (and those who were doing well in their homeland), while the rest of them went in different ways, but still better than in their previous life.

What will happen to the family of the deceased now? To begin with, it should be noted that Russia is not the Wild West, and the deceased cannot be simply buried by the road. In Russia, everyone who lives outside their place of registration has a passport, and the wife and children fit into the passport of the head of the family. Consequently, the widow needs to somehow get in touch with the authorities, bury her husband with a priest, issue a birth certificate, get new passports for herself and her children. Given the incredible sparseness and remoteness of officials in Siberia, and the slowness of official postal relations, solving this one problem can take a poor woman at least six months. During this time, all the money will be spent.

Next, the widow will have to assess the situation. If she is young and has one child (or teenage sons who have already entered the working age), you can recommend her to remarry on the spot (in Siberia there were always not enough women) - this will be the most successful option. If the likelihood of marriage is small, then the poor woman will have to return to her homeland (and without money, this path will have to be done on foot, begging for alms along the way) and there somehow get accustomed to relatives. A single woman has no chance to start a new independent farm without an adult man (both at home and in Siberia), the old farm has been sold. So the widow is not crying in vain. Her husband not only died - all life plans related to gaining independence and independence were forever broken.

It is noteworthy that the picture depicts by no means the most difficult stage of the migrant's journey. After a winter journey in an unheated freight car, living in a hut on the banks of the frozen Irtysh, two months on the deck of an overcrowded barge, a trip on their own cart across the blooming steppe was more relaxation and entertainment for the family. Unfortunately, the poor man could not bear the previous hardships and died on the way - as did approximately 10% of children and 4% of adults from those who moved to Siberia in that era. His death can be associated with a difficult living environment, discomfort and unsanitary conditions that accompanied the resettlement. But, although this is not obvious at first glance, the picture does not indicate poverty - the property of the deceased is most likely not limited to a small number of things in the cart.

The artist's appeal was not in vain. Since the opening of the Siberian Railway (mid-1890s), the authorities gradually began to take care of the settlers. The famous "Stolypin" cars were built - insulated freight cars with an iron stove, partitions and bunks. Settlements with medical assistance, saunas, laundries and free feeding of small children appeared at the hub stations. The state began to mark new land plots for displaced persons, to issue housekeeping loans, and to give tax breaks. 15 years after the painting was painted, such terrible scenes became noticeably fewer - although, of course, resettlement continued to require hard work and remained the most serious test of human strength and courage.

On the map you can trace the path from Tyumen to Barnaul by water. Let me remind you that in the 1880s the railway ended in Tyumen.

On the image: “Migrants. Walkers ". 1886.

On the picture: "Displaced person in a carriage", 1886.

On the picture: “On the road. Death of an immigrant ”. 1889.

On the image: "Time of Troubles" (Tushino camp)

Ivanov was an innovator of the historical genre, composing episodes of the Russian Middle Ages - in the spirit of the Art Nouveau style - almost like motion pictures, capturing the viewer with their dynamic rhythm, "the effect of presence" (Arrival of foreigners to Moscow in the 17th century, 1901); "King. XVI century "(1902), Hike of Muscovites. XVI century, 1903). In them, the artist took a fresh look at the historical past of his homeland, depicting not heroic moments of events, but scenes of everyday life from ancient Russian life. Some of the images are written with a touch of irony and grotesque. In 1908-13 he completed 18 works for the project "Pictures on Russian History".

On the image: "St. George's Day". 1908

On the image: "Campaign of the Troops of Moscow Rus", XVI century, painting in 1903.

On the picture: "Inspection of service people", no later than 1907

During the 1905 armed uprising in Moscow, he was a witness and participant - he helped students wounded in street battles right in the building of Moscow University on Mokhovaya Street. His drawings of gendarmes and Cossacks, who during the uprising lodged in the Manezh, near the Kremlin, have survived.

Later, the artist worked on the painting “They're Coming! The Punitive Squad "(1905-1909, Tretyakov Gallery).

In the picture: They're coming! Punitive detachment.

Pictured: Family, 1907

In the picture: The arrival of the governor

Pictured: German, 1910

Pictured: Village riot, 1889

In the picture: At the prison. 1884 year

On the picture: Arrival of foreigners. 17th century. 1901 year

On the image: Boyar serfs. 1909 year

Date of death: A place of death: Citizenship:

The Russian Empire

Genre:

plot pictures

Style: Influence: Works at Wikimedia Commons

Sergey Vasilievich Ivanov (4 (16) June, Ruza - 3 (16) August, the village of Svistukha (now the Dmitrovsky district of the Moscow region)) - Russian painter.

Biography

early years

The last period of study included the paintings "Sick" (1884, whereabouts unknown), "At the tavern" (1885, whereabouts unknown), "To the landowner with a request" (1885; whereabouts unknown), "At the prison" (1884-1885, State Tretyakov Gallery ), "Agitator in the carriage" (1885, State Center for Contemporary Art). The beginning of work on the topic of resettlement (cycle 1885-1890) dates back to this time.

Resettlement theme (1885-1890)

Already in his final years, Sergei Ivanov turns to acute social problems. In particular, his attention was attracted by a phenomenon characteristic of the Russian countryside in the last quarter of the 19th century: in the second half of the 1880s, resettlement to Siberia began. After the reform of 1861, the need arose to resolve the land issue. The government saw a way out in the resettlement of landless peasants in this vast sparsely populated region. In the last decades of the 19th century alone, several million peasants left their insignificant plots, poor huts and went in search of "fertile lands." Alone, with their wives and children, in small parties, taking their fragile belongings with them, on foot and by carts, and if they were lucky, even by rail, they rushed, inspired by utopian dreams of "Belovodye" or "White Arapia", towards difficult trials and most often severe disappointments. The tragedy of landless peasants who left their ancestral places, from the central provinces to the outskirts of the country - to Siberia, and perished in hundreds on the way - this is the main idea of \u200b\u200bIvanov's cycle of paintings. He captured the scenes of peasant life in deliberately dull, "mournful" in color paintings about the settlers.

Having asked the Moscow Art Society for a certificate for "travel and residence" in a number of provinces from Moscow to Orenburg, Ivanov parted ways with the school, without even receiving a certificate for the title of drawing teacher. From that time on, Ivanov became a kind of chronicler of the tragic phenomenon in the life of the Russian post-reform peasantry.

Art critic Sergei Glagol (pseudonym S.S.Goloushev) tells about this period of Ivanov's life and work:

“... Dozens of miles he walked with the settlers in the dust of Russian roads, in the rain, bad weather and the scorching sun in the steppes, he spent many nights with them, filling his album with drawings and notes, many tragic scenes passed before his eyes, and a number of pictures that are really capable of painting the epic of Russian migrations ”.

In Ivanov's paintings and drawings, terrifying scenes of migrant life appear. Hope and despair, illness and death near people wandering across the vastness of Russia - “Migrants. Walkers "(Bolshoi State Art Museum named after MV Nesterov)," Return Migrants "(1888, National Gallery of the Komi Republic) and the artist's first serious painting" On the Road. The Death of an Immigrant "(, Tretyakov Gallery), which brought fame to the young artist.

The next section of Ivanov's social epic was the "prison series". Work on it in time sometimes merged with the "resettlement cycle"; at the same time, the artist created: "Runaway", sketch (1886, State Tretyakov Gallery), "Riot in the Village" (, State Center for Contemporary Art), "Sending Prisoners" (, State Center for Contemporary Art), "Tramp" (location unknown). The painting "Stage" (the painting died, the version for the Saratov State Art Museum named after AN Radishchev) seems to sum up the "prison series".

At the turn of 1889-1890, Sergei Ivanov, along with Serov, Levitan, Korovin, was a recognized leader among Moscow artists of the younger generation. Then he attended Polenov's "drawing evenings", which were organized by V.D. Polenov and his wife, and found support and approval there.

Period of historical works

Since the mid-90s, a new period begins in the artist's work, associated with the creation of historical works. In the historical painting of Ivanov there are features that make him akin to the art of Surikov and Ryabushkin. The painter understands the state of the agitated masses in acute dramatic moments ("Troubles", II Brodsky's Apartment Museum); "By the verdict of the veche", private collection), he is attracted by the strength of Russian folk characters and, like Ryabushkin, he finds beauty in the phenomena of folk life, confirms the understanding of this beauty by the Russian people. Ivanov sensitively captures the picturesque quest of time; his works of these years acquire a special coloristic sonority.

However, the search for other topics and ways of expressing the inner state continued. Ivanov, dissatisfied (in his words) with the "cute scenes" that prevailed in the genre of the Itinerants, strove for sharply dramatic art, sensitively conveying the "beat of the human soul." He gradually, perhaps influenced by his work in the open air, changed his drawing and palette. This happened during the years of the creation of the Union of Russian Artists, in which Ivanov played a certain role. The artist turned to the historical genre, painted portraits of his loved ones, illustrated books. He remained a realist artist, despite the coming times of searches, modernity, rejection of object art.

Ivanov was an innovator of the historical genre, composing episodes of the Russian Middle Ages - in the spirit of the Art Nouveau style - almost like film frames, capturing the viewer with their dynamic rhythm, "effect of presence" (Arrival of foreigners to Moscow in the 17th century); "King. XVI century "(1902), Hike of Muscovites. XVI century, 1903). In them, the artist took a fresh look at the historical past of his homeland, depicting not heroic moments of events, but scenes of everyday life from ancient Russian life. Some of the images are written with a touch of irony and grotesque.

Revolutionary years - recent years

Later, the artist worked on the painting “They're Coming! Punitive detachment "(-, Tretyakov Gallery).

He taught at the Stroganov School of Industrial Art (1899-1906), at the Moscow School of Painting, Sculpture and Architecture (1900 / 1903-1910).

Participated in exhibitions of the Moscow Society of Art Lovers (1887, 1889, 1894), the Association of Itinerants (1887-1901), "36 Artists" (1901, 1902), "World of Art" (1903), the Union of Russian Artists (1903-1910).

He worked fruitfully as a master of etching and lithography, as well as an illustrator of N.V. Gogol, M. Yu. Lermontov, A.S. Pushkin, etc.

Ivanov died at the age of 46 from a heart attack on August 3 (16) at his dacha in the village of Svistukha on the banks of the Yakhroma river.

Gallery

Literature

"1989. One hundred memorable dates ”. Artistic calendar. Annual illustrated edition. M. 1988. Article V. Petrov.

A. F. Dmitrienko, E. V. Kuznetsova, O. F. Petrova, N. A. Fedorova. "50 Brief Biographies of the Masters of Russian Art". Leningrad, 1971. Article by A.F.Dmitrienko.

Sometimes we have to argue with all sorts of monarchists who curse the Russian Bolsheviks for overthrowing the tsar (a strange thing, I know that the tsar himself abdicated the throne during the February bourgeois revolution), and destroyed the happy peasant life by uniting peasant farms into mechanized kolkhozes (the same kolkhozes that fed the entire war to the country from front to front).

They continue to resist when you tell them about the lawlessness and poverty into which the German tsars and their masonic-liberal environment plunged the peasants, about the regular famine in tsarist Russia, which, due to climatic conditions and the low development of the productive forces of the villagers (traction force of animals, plow, manual labor ) was repeated every 11 years, and that Russian Bolshevism as a popular insurrectionary movement was engendered by objective reasons. They say that this is misinformation and propaganda of "naughty Soviets".

I do not want to discuss the shortcomings and advantages of the "white" and "red" movement now ... This is a separate and difficult conversation for a Russian patriot. I wanted to go to the turn of the 19th century and look at the life of a simple Russian peasant through the eyes of an eyewitness.

Fortunately, objective documents of that time have survived to this day - these are paintings by our famous Russian Itinerant artists, who can hardly be suspected of sympathizing with Soviet power or socialism.

It is impossible to dispute the history of Russian life captured by them.

Perov. "Tea drinking in Mytishchi" 1862

Serfdom was abolished a year ago. Apparently these beggars are father and son. Father on a prosthesis. Both are cut off to the extreme. They came to Father for alms. Where else should they go?

The attitude of this Father to the guests can be seen in the picture. The maid tries to drive them out.

In the picture, the boy is about ten years old. The October coup will take place in 55 years. He will then be 65 years old. It is unlikely that he will live to see this. The peasants died early. Well, what can you do ... Is this a happy life?

Perov. "Seeing the Dead" 1865

And this is how the peasants buried each other. I want to draw the attention of the monarchists to the happy faces of children.

52 years left before the Russian revolution.

Vladimir Makovsky. "Little organ-grinders" 1868

This is more of an urban landscape. Children making a living. Take a look at their simple Russian faces. In my opinion, there is no need to describe their condition. A boy is 9-10 years old, a girl is 5-6 years old. 49 years left before the Russian Revolution. God knows, they are unlikely to live.

Vladimir Makovsky "Visiting the Poor" 1873

This is no longer a village, but a small uyezd Russian town. The painting depicts the interior of a poor family's premises. It's not a complete nightmare yet. They have a stove, and they are not completely powerless. They simply do not know that they are happy because they live in an autocratic state.

The girl in the picture is 6 years old. The stratification of society begins to reach a dangerous level. 44 years are left before the Russian revolution. She will live. Will definitely live!

Ilya Repin "Barge Haulers on the Volga" 1873

No comment. 44 years are left before the Russian revolution.

Vasily Perov "Monastic meal" 1875

A modest meal for the servants of God.

By the way, I read on the Internet from one “learned historian” that the church showed maximum concern for its flock.

The degradation of the church as an organization is evident. 42 years are left before the Russian revolution.

Vasily Perov. "Troika" 1880

Small children like pulling force, pulling a bucket of water. 37 years left before the Russian revolution.

Vladimir Makovsky. "Date" 1883

The son works as an apprentice. His mother came to visit him and brought him a present. She looks at her son with compassion. It is either late autumn or winter outside (mother is dressed warmly). But the son is barefoot.

There are 34 years left before the Russian revolution. This boy must live.

Bogdanov Belsky. "Oral account" 1895

Pay attention to the clothes and shoes of ordinary peasant children. And yet they can be called lucky. They are studying. And they study not in a parish school, but in a normal one. They were lucky. 70% of the population was illiterate. 22 years left before the revolution.

Then they will be about 40 years old. And 66 years later, the children of these guys will challenge the most powerful state in the world - the United States. Their children will launch a man into space and test a hydrogen bomb. And the children of these children will already live in two or three-room apartments. They will not know unemployment, poverty, typhus, tuberculosis and will commit the most terrible crime - the destruction of their people's socialist state, the Iron Curtain and their social security.

Their great-grandchildren will wallow in the mess of liberalism, register at labor exchanges, lose their apartments, fight, hang themselves, drink themselves into alcohol and smoothly approach life that can be described as "Tea drinking in Mytishchi".

The result of life, which is consistently displayed in the pictures presented above, is the picture:

Makovsky "January 9, 1905" 1905

It's Bloody Sunday. Execution of workers. Many Russian people died.

Someone, after looking at the pictures above, will claim that the people's protest was provoked by the Bolsheviks? Is it really possible to bring a happy and contented person to a protest rally? What does “white” and “red” have to do with it? The split in society was caused by objective reasons and grew into a massive violent protest. Poverty, degradation of all branches of government, fattening bourgeoisie, illiteracy, disease ...

Which of them had to be convinced, whom to agitate?! ..

What have Lenin and Stalin got to do with it? .. The split and collapse in society became such that it became impossible to govern this state.

For the past 20 years, liberals have been telling us on TV that they say Bloody Sunday is a Soviet myth. There was no execution. And Pop Gapon was a normal kid. Well, drunk men gathered in the square, well, they made a booze. The police came with the Cossacks. Shot into the air. The crowd stopped. We talked with the men and ... we parted.

Then what to do with the painting by Makovsky, which was painted this 1905? It turns out that the picture is lying, but Posner, Svanidza and Novodvorskaya are telling the truth ??

Ivanov Sergey Vasilievich. "Shooting". 1905 year

Ivanov Sergey Vasilievich. "Riot in the Countryside" 1889

S.V. Ivanov. “They're coming. Punitive detachment ". Between 1905 and 1909

Repin. "The arrest of a propagandist" 1880-1889

N. A. Yaroshenko. "Life is everywhere" 1888

Such a sad excursion ...

Nobody took power from anyone. The monarchy degenerated biologically, under wartime conditions it was unable to rule the country and surrendered Russia to Western Freemasons. Two months before the capture of the Winter Palace, the Socialist-Revolutionaries, entrenched in the Masonic Provisional Government, said - "We do not feel any threat from the Bolsheviks." But the Russian Bolsheviks nevertheless took power.

What was Tsarist Russia at the beginning of the 20th century? It was a backward agrarian country, with a primitive system of government, with not a damn capable army, an illiterate, enslaved Russian people, a rotten estate system and a degenerate German imbecile tsar, terribly far from the working people.

Where in 1913 they broke records for the sale of bread abroad, and the bastard Russian people were in flux from hunger.

By 1917, it was a WWI-slain ruin with industry standing up, transport to a standstill, a deserting army and cities starving to death!

It was a poor, poor country, where 2 power plants operated and then supplied electricity to the residence of the king and his toilet bowls. In addition, in this fucking estate system there was a horde of officials, bureaucrats, landowners, capitalists and other German-Polish-French-Jewish, Russophobic liberal-Masonic scum, realizing the tsar's closeness and using it at the moment when it is necessary to shoot a hundred other Russian workers, then and the cause of the rebels against all these inhuman conditions!

And if the second Russian revolution had not taken place, we would collectively have lost the opportunity to fly into space, and victory in the Second World War, and industrialization, and a nuclear power plant with moon rovers, and thermonuclear bombs and our parents hardly survived to their birth.

By the way, the White Guard armies spat on the tsar, the monarchy and capitalism three times! And a hundred more times they spat on the working Russian people!

And if it were not for 17 years and not for the victory of the Russian workers 'and peasants' army (the Russian insurrectionary movement), then Russia as a state would have ceased to exist even then and would have become a colony of the Entente and the United States (supplying the White movement with tanks, weapons, food and money), disintegrated into the Siberian-Ural republics, the Far Eastern Republic, internecine Cossacks and other bunch of independent, insignificant principalities that would have shared power for another 50 years with Kolchak_Yude-nothing_Wrangel.
Kolchak, although a Russian officer with an admixture of blacks, was such a wonderful guy that he was appointed by England no less than the "supreme ruler of Russia", and at the same time an English resident. But the peasants did not understand his "good" one. And they decided that he deserved the bullet.

And if it were not for the Russian revolution and the "bad" Bolsheviks, who gathered the country and the Russian nation from rags by the year 23 and turned it into one large military industrial camp, we would certainly crawl on our knees in Western countries for the right to live under the sun.

On the map you can trace the path from Tyumen to Barnaul by water. Let me remind you that in the 1880s the railway ended in Tyumen.

The younger generation of the Itinerants made a great contribution to the development of Russian democratic art, reflecting in different ways the proletarian stage of the liberation movement in Russia. The ideological content, expressive means of art have noticeably enriched, creative individuals manifested themselves in various ways.

S. A. Korovin (1858-1908). The peasant theme runs through all the work of Sergei Alekseevich Korovin. The stratification of the Russian countryside, the emergence of kulaks-world-eaters who oppressed the landless peasantry, are vividly and expressively revealed in his painting "On the World" (1893, ill. 181). The village appeared completely new here: there is no former patriarchy, the outward appearance of the peasants has also changed, relations between them have changed. Korovin worked on the composition for a long time, wrote many sketches. The observant eye of an artist who knew modern peasant psychology well is visible in everything.

The composition immediately introduces the viewer into the space of the picture, revealing the plot - an argument between a poor man and a fist. And the coloring, sustained in a gray-ocher tone, conveys the state of a cloudy day, emphasizing the dramatic content of the plot.

The general mood of those gathered at the gathering is truthfully and convincingly shown. Most are still unable to understand the essence of the changes that have taken place along with the invasion of the life of the village by the capitalist system. The crowd of peasants is constrained by silence, on some faces - bewilderment. A grave doubt is expressed in the old man sitting with his back to the viewer.

Korovin opposed the isolation of the crowd of peasants with the open manifestation of feelings among the disputants themselves. The face of the poor man, distorted with grief, the sharp movement of the figure depict the mental anguish of a man driven to despair. In the form of a fist - calmness, hypocrisy and cunning.

Deeply and accurately, avoiding petty details, but accurately conveying the situation, Korovin reveals the meaning of social contradictions in the countryside, revealing a distinct civil position. The artistic and cognitive significance of the picture is great - this document of the era revived in images.

A. E. Arkhipov (1862-1930). Among the younger itinerants, the artist of distinctive talent Abram Efimovich Arkhipov stands out. He came from peasants and knew well the forced life of the people. Most of his works, like those of S.A.Korovin, are devoted to the peasant theme. They are laconic in composition and are always full of light, air, picturesque finds.

In one of the first paintings by Arkhipov, "A Visit to the Sick" (1885), attention is directed to a thorough and truthful depiction of the life of a poor peasant family and a sad conversation between two elderly women. The sunny landscape in the open door speaks of a new coloristic quest.

An outstanding work was the painting "On the Oka River" (1889, ill. 182), where Arkhipov depicted a group of peasants sitting on a barge. They are so characteristic, painted with such warmth and knowledge of folk characters, and the summer landscape is so bright and beautiful that the painting was greeted by contemporaries as an artistic revelation.

Arkhipov loved the modest beauty of Russian nature and poetically captured it. His "Reverse" (1896) is deeply lyrical. The composition is originally constructed: the chaise is half cut off by the lower edge of the canvas, the driver sits with his back to the viewer - it seems that we ourselves are driving along this wide field, the bell is ringing and a free, heartfelt song is pouring. The melting pinkish tones of the fading sky, the muted color of the grass and the dusty road subtly convey the mood of a dying day and light, unaccountable sadness.

Arkhipov devotes the image of a woman worker to the painting "Day laborers at an iron foundry" (1896); The hopeless share of the Russian toiler is most vividly reflected in one of the best works by Arkhipov, The Washerwomen, known in two versions - in the State Tretyakov Gallery and the State Russian Museum (late 1890s, ill. XIII).

The artist transports the viewer to a dark stuffy basement of a shabby laundry, depicting it in fragments. The composition seems to have been snatched from life. As if by chance, we glanced into this room and stopped before the opening spectacle. With quick broad strokes of faded tones, Arkhipov conveyed the figures of working laundresses, the wet floor of the laundry room, the air saturated with moisture, the twilight light pouring from the window. An unforgettable image of an old woman in the foreground, crouching to rest: a tiredly bent back, a head that has fallen on her hand, a heavy meditation on her face. The artist seems to be talking about the fate of all workers.

Reflecting the bleak life of a working people, Arkhipov never lost faith in its inexhaustible strength, hope for a better future. A bright optimistic beginning dominated most of his works, which is especially noticeable in the 1900s, on the eve of major revolutionary events.

In Arkhipov's northern landscapes, there are simple and, at first glance, unremarkable motives of harsh nature. Lonely huts, the edge of the sky, now transparent, now cloudy, the smooth surface of the river But what charm the artist derives from these motives and the modest gray scale! Arkhipov's paintings are imbued with a vigorous life-affirming feeling of a simple Russian person, born in close communication with his native nature.

The bright sun pervades the works of Arkhipov, dedicated to the peasant life. His colorful canvases express admiration for the physical and moral health of the Russian people. It is no coincidence that his palette has changed, becoming more contrasting and decoratively generous. Arkhipov continued this series of works after the Great October Socialist Revolution.

S. V. Ivanov (1864-1910). One of the most consistent successors of the traditions of critical realism was Sergei Vasilievich Ivanov. In the new historical conditions, he was able to see the deep contradictions of Russian reality and answered many painful questions with his works.

Ivanov devoted a large series of works to the hard share of the peasant migrants, their forced wanderings across Russia. The sad fate of a family that lost its breadwinner is reflected in the best picture of this series - "On the Road. Death of a Migrant" (1889, ill. 184).

With an incorruptible sense of truth, S. V. Ivanov leads a picturesque story full of heartfelt content. The whole scene, thoughtfully selected everyday details are written with a careful hand and give the plot the authenticity of a living event taking place before our eyes. The scale of the figures in relation to the space of the landscape was masterfully found: going to the distant horizon, it reminds of a long and arduous journey through the earth dried up by the heat. A lonely, defenseless, suffering person among the silence of nature is the essence of the artist's creative intention.

In the early 1890s, Ivanov became one of the first chroniclers of the revolutionary struggle in Russia. Back in 1889, he painted the picture "Riot in the Countryside", which tells about the growing social protest among the peasants, and in 1891 - "Stage". The terrible sight of prisoners lying side by side on the floor at a transit point, bare feet in shackles, amazed the artist. Only in the depths do you notice the piercing gaze of some convict directed at you.

In the mid-1890s, Ivanov often turns to themes from Russian history of the 16th-17th centuries. In his historical paintings there are features common to the work of most contemporary painters - the everyday interpretation of plots and the decorativeness of color. But unlike many, Ivanov did not lose interest in the social side of the depicted. Such, for example, are the paintings "The Arrival of Foreigners in Moscow in the 17th Century" (1901, ill. 185), which perfectly conveyed the historically correct appearance of the ancient capital and the characters of its inhabitants, and "Tsar. 16th Century" (1902), which was perceived by contemporaries as a satirical image autocracy.

The events of the 1905-1907 revolution captured Ivanov and caused a new creative upsurge. Even on the eve of it, he dedicated the painting "Strike" to the workers in revolt at the factory. All the same, his talent manifested itself in the relatively small canvas "Shooting" (1905). It is one of the most significant works reflecting the bloody massacre of tsarism over the people. This is a severe laconic image, built on the contrast of clear picturesque plans.

The canvas depicts a deserted square, bathed in the evening sun, enclosed by a line of shaded houses, and a lonely dark silhouette of a murdered worker. From this large light plane and motionless figure, the artist leads the viewer's eye into the depths. To the left, the first rows of Cossacks are seen in powder smoke, to the right are demonstrators. The red banner - the brightest spot - highlights this part of the composition. The impression is created of a living, tragic event taking place before our eyes.

Ivanov's painting is perceived as a symbol not only of the bloody massacre of the insurgent people, as the artist intended, but of the whole fate of the first Russian revolution, cruelly suppressed by tsarism.

N. A. Kasatkin (1859-1930). V.G. Perov's student, Nikolai Alekseevich Kasatkin, in his early works turned to folk images and dramatic subjects. Soon the life of the working class and the revolutionary struggle of the Russian proletariat became the leading theme of his work.

Already in 1892, Kasatkin painted the picture "Hard", depicting a sad meeting of a wounded young worker with his bride - a poor seamstress. The expression of sadness and anxiety on the girl's face contrasts with the determination and confidence of the worker. At first, the painting was called "Petrel", but the artist was forced to change the name for censorship reasons. And yet the political content of the canvas reached the viewer, recalling the constantly flaring strikes.

In the same year, Kasatkin visited the Donetsk Basin for the first time, and since then for nine years he has constantly been among the miners, studied their life and work. At first, they were distrustful of the artist, mistaking him for a sent spy, but then they sincerely fell in love. They helped him a lot in working on images that Russian art did not yet know.

Kasatkin's first work about the life of Donetsk miners was the painting Collecting Coal by the Poor in a Depleted Mine (1894). Lively typical images, precise drawing and modest painting, sustained in the general tone, distinguish this canvas.

Kasatkin himself descended underground, observed the incredible conditions of truly hard labor of miners and wrote with bitterness: "... where an animal cannot work, it is replaced by a man." This idea is reflected in the small painting "The Miner-Tyagolyk" (1896). Dark color with reddish reflections of mining lamps; like a pack animal, a worker crawls under the overhanging arches of the drift and pulls a sled loaded with coal.

The result of Kasatkin's work on the theme of miner's life and numerous sketches is the painting "Miners. Change" (1895, ill. 186). It was the first work of Russian painting to show the growing solidarity of the working class. The faint glow of the miner's lamps and the flickering whites of the eyes in the impenetrable darkness add tension to the picture. An elderly miner is in the center of the composition. With the butt in his hands, he strides directly at the viewer like a formidable oncoming force.

In a number of works, Kasatkin revealed the spiritual world of the oppressed proletarian in many ways, with great feeling. The artist achieved a special power of penetration into the image in the canvas "The Wife of a Factory Worker" (1901), removed from the exhibition by the tsarist censorship.

It seems that the whole sad fate of a young, but a lot of surviving woman is captured in a tiredly drooping figure, in a fixed gaze, in a hand that has fallen to her knees. A difficult state of mind is conveyed on a tired face. Here is pain, bitterness, and incipient anger - everything that was naturally associated with the political events of that time and made the viewer think. The colors of clothing, restrained in tone, are immersed in a grayish-ocher environment. The earthy pallor of the face is emphasized by a white scarf thrown over the shoulders.

Kasatkin's great merit is that he saw not only the plight of the working class in Russia, but was able to notice and embody its strength, energy and optimism. From the image of "Miner" (1894, ill. 187) breathes poetry of life, youth, physical and mental health. The warm silver coloring of this canvas is harmonious. The effortless movement of the figure, softly inscribed in the light landscape, is surprisingly true.

Kasatkin, who knew well the life and moods of the workers and deeply sympathized with them, enthusiastically greeted the revolution of 1905-1907. He was in a hurry to capture new situations and images, looking for new subjects. Many sketches, sketches and paintings were the result of a great deal of creative work.

In the difficult conditions of a turbulent time, not everything that struck Kasatkin was able to find a complete and complete display, but each, even a cursory sketch, had an important documentary and artistic value. The artist's paintings, created at that time, are significant in their ideological content and testify to the search for an emotionally intense composition. One example is the painting The Last Journey of a Spy (1905).

Kasatkin enthusiastically worked on the multi-figured composition "Attack of the factory by female workers" (1906), where a complex dramatic action was developed. The movement of a huge seething crowd, a variety of gestures are conveyed with expression. Some sketches for this picture are remembered, especially the image of an angry elderly woman calling for an uprising.

Exclusively ideological and artistic significance of the small canvas "Worker-Fighter" (1905, ill. 188). Kasatkin saw and captured the characteristic type of an active participant in the first Russian revolution. Appearance, posture, gait, stern face - everything speaks of the spiritual world of a person of modern times - courage and determination, calmness and inflexibility, awareness of the importance of one's goal and noble modesty. Such a person could really lead the militant revolutionary detachments. The image echoes the hero of the story "Mother" by AM Gorky.

L. V. Popov (1873-1914). Lukyan Vasilyevich Popov also belongs to the younger representatives of the Itinerants. With particular sensitivity, he noticed social changes in the countryside, which at that time was actively penetrating revolutionary sentiments. His paintings "Towards Sunset. Agitator in the Countryside" (1906), "In the Countryside (Get Up, Get Up! ..)" (1906-1907, ill. 183), "Socialists" (1908), imbued with ardent sympathy for the brave and courageous heroes - a true document of peasant life on the eve and period of the revolution of 1905-1907.

The works of A.P. Ryabushkin and M.V. Nesterov were also associated with the traditions of the Itinerants. However, in their works, new creative quests appeared in a special way and earlier in time, which became typical of art of the late 19th - early 20th centuries.

A. P. Ryabushkin (1861-1904). Andrey Petrovich Ryabushkin can be called a folk artist. All his life and work after his student years at the School of Painting, Sculpture and Architecture, as well as at the Academy of Arts, took place in the village. His art was a kind of reaction to the historical processes of the capitalization of Russia, when "the old foundations of peasant economy and peasant life, foundations that had really held on for centuries, were scrapped with extraordinary speed." Ryabushkin poeticized antiquity dear to his heart, the traditional way of life, the stable features of the national image.

* (Lenin V. I. Lev Tolstoy as a mirror of the Russian revolution. - Full. collection cit., v. 17, p. 210.)

Ryabushkin's genre paintings are characterized by the features of calmness and silence. Depicting the patriarchal setting of a village wedding ("Expectation of the newlyweds from a crown in the Novgorod province", 1891), the artist emphasizes the gravity and dignity of the sitting peasants.

In the 1890s Ryabushkin appeared as the original master of Russian historical and everyday painting. In the distant past of Russia, he was most attracted by the everyday life of old Moscow. Revitalization reigns during the spring thaw in the painting "Moscow Street of the 17th century on a holiday" (1895). Here is a girl in a red summer house, carefully carrying a candle, and rustic guys in long-length clothes, and an arrogant boyar passing along a dirty street, and a blind beggar. Colorful clothes decorated with Russian ornament, blue reflections of the sky in puddles, motley domes of churches and general liveliness of movement make this picture festive.

Ryabushkin's bright individuality was most fully expressed in the paintings of 1901 "They're Coming" (Fig. 189) and "The Wedding Train in Moscow (17th century)" (Fig. 190). The first of them, featuring a bold and unusual composition, depicts Moscow residents waiting for foreigners. This is, as it were, a fragment snatched from the picture of the life of Russian people in the 17th century. Their faces showed curiosity, naivety and self-esteem. Large color spots of yellow, red and green archers' caftans and colorful clothes of the townspeople give the picture a major tone and a pronounced decorative character.

The painting "Wedding Train in Moscow (17th century)" is imbued with the poetry of Russian antiquity. The silence of a spring evening, into the lilac haze of which Moscow is immersed, and the lonely figure of a sad Muscovite woman, are opposed by a swiftly passing magnificent festive train. The sketchiness of the painting, contrasting with the more densely painted landscape, the lightened, as if fresco, coloring, the subtly found rhythm in the entire central group - all this allowed Ryabushkin to impartingly convey the everyday appearance of a Russian city of distant time.

Ryabushkin's Tea Party (1903), written a year before his death, is unusually expressive and capacious. This is a work of a socially critical nature. If before for his genre paintings Ryabushkin selected the positive, the good, the beautiful in peasant life, now he depicted the world of the village rich. The elegance and cold formality of tea drinking has something of a philistine prosperity; in the grotesqueness of the images, in the rigidity of pictorial plastics unusual for Ryabushkin, reminiscent of ancient Parsuns, the artist's rejection of this alien world is read.

M. V. Nesterov (1862-1942). Complex and contradictory pre-revolutionary period of creativity Mikhail Vasilyevich Nesterov.

He began his career in art with genre paintings close to the Wanderers, but at the end of the 1880s, a sharp change took place in his work. The artist goes into the world of ideally beautiful, singing the purity of religious feelings, depicting the inhabitants of monasteries and hermitages.

Nesterov's old hermit in the painting "The Hermit" (1888-1889), slowly wandering along the shore of a mirror-smooth lake, is infinitely far from the worries of life. His image is inextricably linked with the beauty of a serene nature, its serene tranquility.

Landscape plays a huge role in Nesterov's work. The poet of Russian nature, Nesterov, being able to penetrate deeply into the inner world of man, always connects the experiences of his characters with the state and nature of the landscape.

In the painting "The Vision to the Youth Bartholomew" (1889-1890, ill. 191), the only character is a pale youth with his thin hands convulsively clenched in prayer ecstasy. But the main character of the artist is still the landscape of the Central Russian strip, the spiritualized nature, where the artist truly grants life to every blade of grass, each participates in the glorification of the homeland.

In the late 1890s - early 1900s, the artist created a series of paintings dedicated to the tragic fate of a Russian woman, submissive and suffering ("Over the Volga", "On the mountains"). In The Great Vows (1898), he shows the sad procession of the inhabitants of a small skete, nestled among a dense forest, escorting a young woman still full of strength to the monastery. Mournful faces, dark silhouettes of figures, trembling lights of huge candles ... There is deep sadness, but next to it is again the wonderful world of nature, virgin forests and Nesterov's thin-stemmed young birches.

In the early 1900s, the skill of Nesterov as a portrait painter took shape. Here the realistic side of the artist's work was most fully manifested. Most of the portraits of this time, Nesterov painted against the background of a landscape, as well as in paintings, affirming the inextricable connection between man and nature. In the portrait of O. M. Nesterova (1906, ill. 192), the figure of a girl in a black Amazon stands out in a beautiful silhouette against the background of a lyrical evening landscape. Graceful and graceful, with a soulful, slightly dreamy look, this girl personifies for the artist the ideal of youth, beauty of life and harmony.

Back in the 1880s, the work of three outstanding Russian artists was formed - K. A. Korovin, M. A. Vrubel and V. A. Serov. They most fully defined the artistic achievements of the era, its complexity and wealth.

V. A. Serov (1865-1911). The largest artist of the late XIX - early XX century was Valentin Aleksandrovich Serov. His work continued the development of realistic art, deepening its content and expanding its expressive possibilities.

Serov's art is bright and diverse. First of all, he is a master of psychological, pictorial and graphic portraiture, but his talent also manifested itself in landscape, historical genre, book illustration, decorative and monumental decorative art. From childhood, Serov was surrounded by the atmosphere of art. His father, A.N.Serov, is a famous composer and musician, his mother is a gifted pianist. Serov's teachers were I.E. Repin and P.P. Chistyakov at the Academy of Arts. The former contributed greatly to the formation of the democratic foundations of Serov's work and the awakening of interest in the inquisitive study of life, to the latter he owed a deep understanding of the professional laws of form.

Serov's early works - his famous portraits "Girl with Peaches" (1887, ill. X) and "Girl illuminated by the sun" (1888) - glorified the young artist and most fully characterized the art of early Serov.

"Girl with Peaches" was written in "Abramtsevo", the estate of S. I. Mamontov, with his daughter Vera. In this excellent portrait, the image created by the artist, due to the vital completeness of the content, outgrows the framework of an individual portrait, embodying the universal principle. In a teenage girl with a serious face and a stern look, in her calm restraint and spontaneity, the artist managed to convey the high poetry of a bright and pure youth.

This portrait is surprisingly beautiful in its painting. It is written in full light, very light and material at the same time. Its transparent paints, unusually clean, filled with light and air, vividly convey reflexes from lighting. The freshness of the coloring of "Girls with Peaches", which at one time so amazed contemporaries, as well as the natural simplicity of the thoughtful composition, put the picture on a par with the best works of world painting.

Serov develops the same theme of youth in The Girl in the Sunshine. The content of the portrait is the same gratifying feeling of a person's spiritual beauty and the fullness of his being.

The 1890s are the next stage in Serov's work. During these years, the artist most often writes people of art, and now he wants to reveal their creative individuality first of all. With the special intent gaze of NS Leskov (1894), he conveys the vigilance of an inquiring realist writer. II Levitan's pensiveness is akin to the artist's poetic feelings, the ease of KA Korovin's posture (1891, ill. 193) is a kind of expression of the freedom and immediacy of his art.

Back in the 1880s, apart from portraits, Serov also painted landscapes. Most often he found motives in Abramtsevo and Domotkanovo, where the estate of his friends Derviz was located. In the 1890s, the image of simple rural nature began to take an increasing place in Serov's landscape work. Often the artist introduces figures of peasants into his paintings, as if bringing the landscape closer to the genre of everyday life ("October. Domotkanovo", 1895, ill. 194, "Woman with a Horse", 1898). IE Grabar called the artist "peasant Serov" precisely for his landscapes. In them, the democracy of his art was expressed with particular clarity.

In the 1900s, Serov's work became noticeably more complex. The main place in it is still occupied by portraits. In addition, he continues to paint landscapes, works on illustrations for the fables of I.A.Krylov, begun in the 1890s. Historical and monumental-decorative painting is now constantly included in the circle of his interests.

In the 1900s, Serov's portrait work became much more diverse. Numerous secular ceremonial portraits are added to the portraits of people close to him. The artist still remains incorruptibly truthful in his characteristics and inexorably demanding of himself, not allowing the slightest carelessness or dampness in his performance. As before, the basis of his portrait art remains the psychological disclosure of the image, but Serov is now focusing his attention on the social characteristics of models. In the portraits of the leading representatives of the Russian intelligentsia, he, with greater clarity than before, seeks to capture and emphasize their most typical, outstanding social qualities. In the portrait of A. M. Gorky (1905, ill. 195), by the simplicity of his entire appearance, by the clothes of a craftsman, by the gesture of an agitator, the artist emphasizes the democracy of the proletarian writer. The portrait of M. N. Ermolova (1905, ill. 196) is a kind of majestic monument to the famous tragic actress. And the artist subordinates all the means of expression to the identification of this thought. The lobby of Yermolova's mansion, in which she posed for Serov, is perceived as a stage, and thanks to the reflection in the mirror of a fragment of the colonnade, as an auditorium. Ermolova herself, in her austere and solemn black dress, adorned with only a thread of pearls, is majestic and inspirational.

Serov's portraits of his noble customers are completely different. The ceremonial portraits of the Yusupov spouses, S. M. Botkina, O. K. Orlova (Fig. 197) and many others resemble the portraits of the 18th - first half of the 19th century, with brilliant skill they paint exquisite furnishings and elegant ladies' dresses. In depicting the people themselves, Serov emphasized their typical social qualities that characterize the class to which they belonged. These portraits, as V. Ya. Bryusov said, are always a trial of contemporaries, all the more terrible since the artist's skill makes this trial peremptory.

Among such portraits of Serov, one of the first places is taken by the portrait of M.A.Morozov (1902), depicted against the background of the living room of his beautifully furnished mansion. This man is educated, known for his wide patronage and understanding of art, but the basis of the money-grubber-merchant of Ostrovsky's time is still alive in him. Here he stands, like a living, this Europeanized merchant of the late 19th century, filling the narrow format of the canvas with a heavy figure and looking straight ahead with a piercing gaze. The power of Morozov is not only his personal property, it betrays an industrialist in him, just as the arrogance of Princess O. K. Orlova makes her a typical representative of the high society aristocratic circles of the early 20th century. Serov achieved great expressiveness of portraits during this period due to the richness of the used pictorial means, the vyryirovanie artistic manner, depending on the characteristics of the work being created. Thus, in the portrait of the banker V.O. Girshman (1911) Serov is laconic in a poster-like manner, and in the portrait of Princess Orlova his brush becomes refined and cold.

As mentioned above, a significant place in Serov's work of the 1900s is occupied by work on historical compositions. He is especially captivated by the stormy, rapid development of the life of Russia in Peter's time. In the best picture of this cycle "Peter I" (1907, ill. 198), the artist depicts Peter as a mighty reformer of the state. It is no coincidence that he is much taller than satellites in height. The impetuous movement of Peter and the courtiers barely keeping up with him, the tense rhythm of impetuous angular lines sharply outlining the silhouettes, the agitation of the landscape - all this creates the mood of the stormy Peter's era.

Captured by the living beauty of Greece, which Serov visited in 1907, he also worked for a long time and with enthusiasm on mythological subjects ("The Abduction of Europa", "Odysseus and Nausicaa"). As always, he builds these works on the basis of full-scale work, careful observation. But, solving them in terms of a monumental decorative panel, the artist somewhat simplifies and primitivizes the plastic form, while preserving, however, the vitality of the impression.

One of Serov's significant works of the late 1890s - early 1900s - a series of illustrations to the fables of I.A.Krylov - was the subject of his tireless concern and attention. The artist overcame the descriptiveness, which hindered him in the sheets of the initial period of work on fables, and acquired a wise conciseness and expressiveness of a cleverly found form. The best of these sheets are masterpieces of Serov's art. Following Krylov, the artist did not destroy the allegory of fables and sought to convey their moral meaning in his drawings. In the images of animals, purely human qualities were revealed: Serov's lion is always the embodiment of strength, intelligence and greatness, the donkey, as expected, is the personification of stupidity, the hare is an incorrigible coward.

Il. 199.V. A. Serov. "Soldiers, brave children, where is your glory?" K., tempera. 47.5 X 71.5. 1905. RM

Serov's work characterizes him as a democrat artist, standing in the forefront of progressive figures in Russian culture. Serov proved his loyalty to democratic principles not only with his art, but also with his social position, especially during the revolution of 1905-1907. As a witness to Bloody Sunday on January 9, he resigned from the full membership of the Academy of Arts, because the commander of the troops that reprimanded the people was the President of the Academy - Grand Duke Vladimir Alexandrovich. A sharp protest against the violence and cruelty of the autocracy is also heard in the artist's bold denunciatory drawings published in satirical magazines during the days of the revolution ("Soldiers, brave children, where is your glory?" (Fig. 199), "Views of the harvest", "Acceleration of the demonstration ").

K. A. Korovin (1861-1939). Konstantin Alekseevich Korovin is one of those masters who blaze new trails in art and whose work is a school for many artists of subsequent generations.

Korovin is a pupil of the Moscow School of Painting, Sculpture and Architecture, the landscape workshop of A.K.Savrasov, V.D. Polenov. His work was formed in the mainstream of Russian plein air painting of the 1880s ("The Bridge", "Northern Idyll", "At the Balcony. Spanish Women Leonora and Ampara", ill. XI).

Since the 1890s, the time has come for Korovin's creative maturity. His talent is equally vividly revealed both in easel painting, primarily in landscape, and in theatrical and decorative art.

The charm of Korovin's art lies in the warmth, sunshine, in the artist's ability to directly and vividly convey impressions, in the generosity of his palette, in the coloristic richness of artistic painting.

In the same 1890s, significant changes took place in Korovin's work. He seeks to convey the visible at times in an imressionist way. Long-term observation of nature gives way to the transmission of its sensations. The pictorial and plastic structure of Korovin's art is also changing. The role of sketch forms of painting is increasing, but it itself becomes more impulsive, pasty, wide; the color acquires a great decorative sonority, intensity and saturation ("Winter", 1894, ill. 200; "Summer", 1895; "Roses and violets", 1912, ill. 201; "Wind", 1916).

Theatrical creativity of Korovin was formed in the environment of the figures of the Russian Private Opera S. I. Mamontov, but he achieved the greatest fame while working in the imperial theaters in the 1900s - 1910s. For more than twenty years, Korovin headed the production of the Bolshoi Theater. He actively participated in the struggle against the conservatism and routine that reigned on the state stage, bringing a high artistic culture to these theaters, and, together with a number of other famous masters, raised the importance of a theatrical artist to the level of a co-author of the play. Korovin is a brilliant master of picturesque scenery, effective, emotional, life-like. The performances he designed were truly a feast for the eyes.

The best theatrical works of Korovin are usually associated with national themes, with Russia, its epic and fairy tale, its history and, above all, with its nature (N. A. Rimsky-Korsakov's opera The Snow Maiden, 1909; M. P. Musorgsky's opera Khovanshchina , 1911).

M. A. Vrubel (1856-1910). Nature was generous to Mikhail Alexandrovich Vrubel. She endowed him with brilliant coloristic abilities, a rare gift of a monumentalist, he painted beautifully, the flight of his imagination is truly amazing. Vrubel's work is deeply meaningful and complex. He was always worried about high ideals and great human feelings. He dreamed of "awakening the soul from the little things of everyday life with stately images." His art, alien to indifference, is always romantically excited and soulful.

But Vrubel's ideals developed in the harsh conditions of the surrounding life. Wanting to get away from her screaming contradictions, the artist tried to withdraw into the world of abstract images. However, being a great artist, he still could not isolate himself from reality. His art reflects it, carries the features of the era.

Even in his student years, Vrubel was different from his peers. He went to mastery, almost bypassing school shyness and stiffness. This manifested itself in his multi-figured compositions on a given theme, which were unusually easy for him ("The Betrothal of Mary to Joseph"), and in his fluency in watercolor technique, and in the thin plasticity of his portraits.

An important role in the formation of Vrubel's work was played by his teacher P.P. Chistyakov, who instilled in him a constructive understanding of form in art, as well as advanced artists, members of the Abramtsevo circle. These connections, as well as later his acquaintance with N. A. Rimsky-Korsakov, Vrubel owes to the addition of national foundations in his work.

Vrubel spent four years at the Academy of Arts. In 1884 he left for Kiev to restore and renew the wall paintings of the St. Cyril Church. Already in these works and in unrealized sketches for the paintings of the Vladimir Cathedral, the artist's enormous gift is revealed. Using the traditions of Byzantine and Old Russian painting, the art of the Renaissance, Vrubel remains deeply original. Emphasized expression of feelings, intense color, temperament of the writing give his images a special drama.

In 1889 Vrubel moved to Moscow. Since that time, the time has come for his creative heyday. He is fluent in many genres of art. This is an easel painting, a book illustration, and a monumental decorative panel, and a theatrical scenery. Vrubel draws a lot from nature, is fond of majolica. The artist tirelessly improves his skills, he is sure that "technique is the artist's language", that without it he will not be able to tell people about his feelings, about the beauty he has seen. The expressiveness of his works is further enhanced by the dynamic painting, shimmering, like a jewel, color, inspired drawing.

The theme of the Demon, inspired by M. Yu. Lermontov's poem, becomes one of the central themes in Vrubel's work. Captured by the high romance of the poem, he illustrates it ("Tamara in the Coffin", 1890-1891) and creates images of the central characters close to Lermontov's in spirit, power of expressiveness and skill. At the same time, the artist endows them with features of heightened expressiveness and brokenness, which will soon become the stamp of his time. For more than ten years, Vrubel again and again returns to the image of the Demon. Its evolution is a kind of tragic confession of the artist. He imagined this evil spirit of heaven as beautiful, proud, but infinitely lonely. At first, mighty, in the prime of life, still believing that he would find happiness on earth ("The Demon Sitting", 1890, ill. XIV), the Demon is later depicted as unconquered, but already broken, with a broken body, spread among the cold stone mountains ("The Demon defeated ", 1902). In his eyes burning with anger and stubbornly clenched mouth, there is a rebellious spirit and tragic doom.

In the 1890s, another theme, originally Russian, folklore, gradually became dominant in Vrubel's work. The artist is still attracted by titanic strong heroes, but now they bring goodness and peace. In the monumental decorative panel "Mikula Selyaninovich" (1896) Vrubel portrayed the epic hero as a simple farmer, saw in him the personification of the power of the Russian land. Such is the "Bogatyr" (1898), as if merged with his horse, a mighty knight - not a warrior, but vigilantly protecting the peace of his homeland.

The fabulous images of Vrubel are beautiful. They happily combine the truth of observation, deep poetry, sublime romance and the transforming fantasy of everything. She is inextricably linked with nature. In fact, the spiritualization of nature, its poetic personification is the basis of Vrubel's tales. Mysteriously, his "Towards the Night" (1900). In "Pan" (1899, ill. 204), depicting the goat-footed god of the forests, there is a lot of humanity. In his faded eyes, already faded for a long time, both kindness and age-old wisdom shine. At the same time, it is like a revived birch trunk. Gray curls are like curls of white bark, and fingers are gnarled knots. "The Swan Princess" (1900, ill. 203) is both a blue-eyed girl-princess with a long braid to the waist and a regally beautiful bird with swan wings, swimming in the blue sea.

Great thoughts and feelings, a wide scope of imagination pulled Vrubel into the world of monumental art, and it became one of the main directions in his work. Since the 1890s, having found the form of monumental and decorative panels, the artist performed them by orders of enlightened patrons (panel "Spain", ill. 202, "Venice", a series dedicated to Goethe's poem "Faust"). With the monumental integrity of the form, they always retained the subtlety of plastic design and the psychological depth of the image.

Vrubel's portraits are also distinguished by their originality and artistic significance. They are deep and very expressive; the artist gave each model a special spirituality, and sometimes even drama. Such are the portraits of S. I. Mamontov (1897), the poet Valery Bryusov (1906), numerous self-portraits (for example, 1904, ill. 205) and portraits of his wife, the famous singer N. I. Zabela-Vrubel.

The last ten years of his life were painful for Vrubel. His wonderful gift fought for a long time with a serious mental illness. No longer able to hold a brush in his hand, he painted a lot, striking the surrounding with the purity of the structural forms of the drawing. Vision gradually faded. Vrubel died in the prime of his creative powers.

V. E. Borisov-Musatov (1870-1905). The tendency to poeticization of images, characteristic of Russian art of the 1890s - early 1900s, found expression in the work of Viktor Elpidiforovich Borisov-Musatov. His lyrical talent began to manifest itself from the earliest student years in gentle images of poetic nature, but only from the end of the 1890s the circle of Musatov's favorite themes and the figurative-pictorial system of his art were determined. With all his might, the artist seeks to comprehend the harmony in the world and, not seeing it around, tries to recreate it in his imagination.

The best works of Musatov - "Spring" (1901), "Pond" (1902, ill. 206), "Emerald Necklace" (1903-1904). The artist is still close to nature, but it seems to be reincarnated into elegiac images of his soulful dream, like the images of literary symbolism, loses the clarity of life outlines in the vagueness of the contours and the fragility of color spots. He inhabits his brooding parks with slow, as if dreaming girls, dresses them in dresses of past times, wraps them around them and everything around them with a haze of light sadness.

"World of Art" - a significant phenomenon in Russian artistic life in the late 19th - early 20th centuries, which played a large role in the development of not only the fine arts in Russia, but also theater, music, architecture, and applied arts.

The cradle of the "World of Art" was a circle of the Petersburg intelligentsia, which arose in the 1890s. It included the artists A. N. Benois, K. A. Somov, L. S. Bakst. By the end of this decade, the "World of Art" took shape as an ideological and artistic association. It was attended by V. A. Serov, who supported him with his authority. EE Lansere and MV Dobuzhinsky joined the core of the young group. A large organizational role was played by S.P.Dyagilev, devoted to the interests of art. From 1899 to 1904, the figures of the "World of Art" published a literary and art magazine. However, it was not uniform in its focus. Its art department, headed by outstanding masters of the visual arts, differed sharply from the literary-philosophical one, which had a symbolist-religious character.

The World of Artists considered their main goal to be the renewal of Russian art, the enhancement of its artistic culture, skill, and wide familiarization with the traditions of foreign and domestic heritage. They worked a lot and fruitfully not only as artists, but also as art historians, critics, popularizers of classical and contemporary art.

The World of Art played a particularly large role in Russian artistic life in the first period of its existence, which lasted about ten years. Artists from Mir organized extensive exhibitions of domestic and foreign art, initiated many artistic endeavors. They then declared themselves opponents of both the routine academicism and the petty everyday life of some of the later Wanderers.

In their creative practice, the World of Artists proceeded from specific life observations, depicting contemporary nature and man, and from historical and artistic materials, referring to their favorite retrospective plots, but at the same time they tried to convey the world in a transformed form, in decorative-raised forms and one the search for synthetic art of the "grand style" was considered the main task.

In the early years of the association's life, the World of Artists paid tribute to the individualism that permeated the European culture of those years, and the theory of "art for art." Later, in the pre-revolutionary decade, they largely revised their aesthetic positions, recognizing individualism as destructive for art. During this period, modernism became their main ideological enemy.

In two types of art, the artists of the World of Art have achieved particularly significant success: in theatrical and decorative, which embodied their dream of the harmony of the arts, their synthesis, and in graphics.

Graphics attracted the world of art as one of the mass forms of art, they were also impressed by its chamber forms, widespread in those years in many types of art. In addition, graphics demanded special attention, as they were much less developed than painting. Finally, achievements in the domestic printing industry also contributed to the development of graphics.

Landscapes of old Petersburg and its suburbs, the beauty of which the artists glorified, as well as the portrait, which in their work took essentially an equal place with the picturesque, became the originality of the easel graphics of the World of Art. A.P. Ostroumova-Lebedeva made a great contribution to the graphics of the early 20th century; in her work wood engraving is established as an independent art form. The romantic creativity of V.D.Falileev, who developed the art of engraving on linoleum, was peculiar.

The most significant phenomenon in the field of etching was the work of V. A. Serov. They were distinguished by their simplicity, severity of form and excellent skill in drawing. Serov also pushed the development of lithography forward, creating a number of remarkable portraits in this technique, distinguished by their expressiveness with an amazing economy of artistic means.

The masters of the World of Art have achieved great success in the field of book illustration, raising the artistic culture of the book to a high level. Particularly significant in this respect is the role of AN Benois, EE Lansere, MV Dobuzhinsky. I. Ya. Bilibin, D. N. Kardovsky, G. I. Narbut, D. I. Mitrokhin, S. V. Chekhonin and others worked fruitfully in book graphics.

The best achievements of graphic art at the beginning of the century, and first of all the World of Art, contained the preconditions for the widespread development of Soviet graphics.

A. N. Benois (1870-1960). Alexander Nikolaevich Benois acted as the ideologist of the World of Art. Intelligence, broad education, versatility of deep knowledge in the field of art characterize Benoit. Benois's creative activity is unusually versatile. He achieved a lot in book and easel graphics, was one of the leading theater artists and figures, art critics and art critics.

Like other World of Artists, Benoit preferred themes from past eras. He was a poet of Versailles (his two Versailles series are best known - "The Last Walks of Louis XIV", 1897-1898 and the series 1905-1906, ill. 208). The artist's creative imagination caught fire when he visited the palaces and parks of St. Petersburg suburbs. Russian history is also reflected in the work of Benoit. In 1907-1910, along with other Russian artists, he enthusiastically worked on paintings on this topic for the publishing house I. Knebel ("Parade under Paul I", 1907; "Exit of Empress Catherine II in the Tsarskoye Selo Palace", 1909).

Benois inhabited his detailed historical compositions, executed with great imagination and skill, with small figures of people and carefully, with love, reproduced the monuments of art and the everyday appearance of the era.

Benoit made a major contribution to book graphics. Most of the artist's works in this area are associated with the work of Alexander Pushkin. In his best work - illustrations for the poem "The Bronze Horseman" (1903-1923) Benoit chose the path of a co-author, characteristic of the "World of Art". He followed the text line by line, although he sometimes deviated from it, introducing his own plots. Benois paid the main attention to the beauty of old Petersburg, newly discovered by the world of art, after Pushkin depicting the city either clear and quiet, then romantically confused in the terrible days of floods.

Benois's illustrations for Pushkin's "The Queen of Spades" were also performed with great professional skill. But they are distinguished by a more free interpretation of Pushkin's text, sometimes by ignoring the psychologism that permeates the story.

Benois was engaged in theatrical activity during almost his entire creative life. He has established himself as an excellent theater artist, a subtle theater critic. In the 1910s, at the time of his creative heyday, Benois worked at the Moscow Art Theater together with K. S. Stanislavsky and V. I. Nemirovich-Danchenko, often not only as an artist, but also as a director, and in the early years of its existence "Russian Seasons" in Europe carried out artistic direction in them. His theatrical works are also characterized by accuracy in the recreation of the artistic and everyday features of the era, compliance with the author's dramatic intent and high artistic taste. Favorite theatrical brainchild of Benois is the famous ballet by IF Stravinsky "Petrushka" (1911). Benoit owned not only its design. He was the author of the libretto and took an active part in its production.

K. A. Somov (1869-1939). The work of Konstantin Andreevich Somov is no less typical for the "World of Art". Unlike many of his colleagues from the World of Art, Somov received a systematic art education. He studied at the Academy of Arts, where he chose the studio of I. E. Repin. The strong professional skills he acquired here, Somov tirelessly perfected in the future, and his brilliant skill soon became widely known.

In the early years of his work, Somov followed realistic traditions (portrait of his father, 1897). In the painting "Lady in a Blue Dress" (portrait of the artist Ye. M. Martynova, 1897-1900) there is also a psychologically subtle and deep penetration into the image bearing the stamp of the tragic fate of the young artist. However, Somov's desire to associate him with a long past time (Martynova is dressed in an old dress), the scene he introduced in the background in the spirit of the 18th century, a scene of carelessly playing music by a lady and a gentleman, and a painting that has become more rigid herald a new search for the artist.

In the early 1900s, Somov's work was finally formed. Like all artists of the world, he willingly painted landscapes. Always starting from nature, he created his own, catfish image of nature, romantically elevated, with a thin lace of frozen foliage on the trees and a complex graphic pattern of their branches, with enhanced sonority of color. But the main place in the artist's work was taken by retrospective compositions. Their usual characters are mannered, doll-like ladies in high powdered wigs and crinolines. Together with languid gentlemen, they dream, have fun, flirt. Somov painted these paintings clearly under the influence of the old masters. His painting became smooth, as if varnished, but sophisticated in a modern way ("Winter. Skating rink", 1915, ill. 210).

Portrait occupies a significant place in Somov's work. His gallery of portraits of representatives of the artistic intelligentsia is truly a landmark of the time. The best of them are portraits of A. A. Blok (1907, ill. 209), M. A. Kuzmin and S. V. Rachmaninov. They are distinguished by accuracy, expressiveness of characteristics and artistry of performance. The artist, as it were, lifts all models above everyday life, endowing them with the general ideal qualities of the hero of his time - intelligence and refinement.

E. E. Lancere (1875-1946). Evgeny Evgenievich Lanceray is one of the many-sided masters of the World of Art. He was engaged in easel and monumental painting, graphics, was a theatrical artist, created sketches for works of applied art. His work is characteristic of the "World of Art", and at the same time, a bright originality distinguishes Lanceray from the world of art. He was also attracted to the 18th century, he loved to create impressive compositions on this topic, but they are distinguished by a greater variety of interpretation of the content and democratism of images. Thus, the painting "Ships of the Times of Peter I" (1909, 1911) is steeped in the spirit of the heroic romance of Peter the Great, and the gouache "Empress Elizabeth Petrovna in Tsarskoe Selo" (1905) is characterized by a sober life truth of images.

The most significant place in the work of Lancer is occupied by graphics - easel, book and magazine. His graphic works are smart, sometimes sophisticatedly patterned, imbued with the spirit of the era and classically clear. The central work of the artist is a large series of illustrations for Leo Tolstoy's story "Hadji Murad". In them, Lancer managed to recreate the wise Tolstoyan simplicity with the romance of the general mood and the bright expressive characters of the characters. Later Lanceray worked a lot and fruitfully as a Soviet artist.

M. V. Dobuzhinsky (1875-1957). Like Lancer, Dobuzhinsky belonged to the younger generation of World of Art artists. His work, like that of Lanceray, is typical of this association and at the same time deeply original. In easel art, Dobuzhinsky preferred the urban landscape. But he was not only his singer, but also a psychologist, not only praised his beauty, but portrayed the other side of the modern capitalist city, cold-mechanistic, octopus city ("The Devil", 1906), spiritually devastating people ("Man with glasses" , 1905-1906).

Both in book graphics and in theatrical and decorative art, Dobuzhinsky is characterized by an individual psychological approach to the interpretation of the illustrated work. The Andersen-style artist is kind and witty in graceful color drawings for the fairy tale "The Swineherd", lyrical and tenderly sentimental in illustrations for "Poor Liza" by N. M. Karamzin and deeply dramatic in the famous series of illustrations for F. M. Dostoevsky's story "White nights "(1922). Dobuzhinsky's best theatrical works are those that he carried out at the Moscow Art Theater ("A Month in the Country" by I. S. Turgenev, 1909, "Nikolai Stavrogin" by F. M. Dostoevsky, 1913).

The work of many masters of the beginning of the century - V. A. Serov, Z. E. Serebryakova, I. Ya. Bilibin, B. M. Kustodiev, I. E. Grabar and others - is connected to the "World of Art" to one degree or another. In the same row - and Nicholas Roerich (1874-1947) - an advanced artist, scientist, prominent public figure. In the artistic environment of that time, Roerich singled out her love for Old Russian history and archeology, for the art of Ancient Russia. In his work, he strove to penetrate into the depths of centuries, into the living and integral world of distant ancestors, to link it with the progressive development of mankind, with the ideals of humanism, heroism and beauty ("Guests from Overseas", 1902, ill. 211; "The City is being built", 1902 ).

"Union of Russian Artists". The Union of Russian Artists (1903-1923) played a significant role in the artistic life of Russia at the beginning of the century. Its background was the "Exhibitions of 36 Artists", organized in 1901 and 1902 in Moscow. The Union of Russian Artists was founded on the initiative of Muscovites in order to strengthen the young artistic organization. Many leading masters of both capitals became its members, but Moscow painters continued to remain the core of the Union of Russian Artists - K. A. Korovin, A. E. Arkhipov, S. A. Vinogradov, S. Yu. Zhukovsky, L. V. Turzhansky , A. M. Vasnetsov, S. V. Malyutin, A. S. Stepanov. A. Rylov, K. F. Yuon, I. I. Brodsky, F. A. Malyavin were close to the "Union of Russian Artists" in their artistic positions, active participants in its exhibitions. In 1910, the Union of Russian Artists split up. From its composition a St. Petersburg group of artists left, which restored its former name "The World of Art", a group that ceased to exist as an exhibition union in 1903.

Landscape is the main genre in the art of most masters of the Union of Russian Artists. They were the successors of landscape painting of the second half of the 19th century, expanded the range of topics - they depicted the nature of central Russia, and the sunny south, and the harsh north, and ancient Russian cities with their wonderful architectural monuments, and poetic old estates, often introduced elements of the genre into their canvases , sometimes still life. They drew the joy of life from nature and loved to paint right from nature with a temperamental wide brush, juicy, bright and colorful, developing and multiplying the achievements of plein air and impressionistic painting.

In the works of the masters of the Union of Russian Artists, the creative individuality of each was clearly expressed, but they also had many similar features - a keen interest in a quick visual coverage of the world, a craving for a fragmentary dynamic composition, the blurring of clear boundaries between a compositional painting and a full-scale sketch. Their painting was characterized by the integrity of the plastic-colorful cover of the canvas, a wide relief brushstroke sculpting the form and the sonority of color.

Art of 1905-1907. The events of the first Russian revolution, which left an imprint on the entire further course of Russian and world history, were vividly reflected in the visual arts. Never before has Russian art played such an effective role in the political life of the country as it does these days. "The drawings themselves incite an uprising," - this is how the Minister of Internal Affairs IN Durnovo informed the tsar in his report.

The revolution of 1905-1907 was reflected with the greatest depth in easel painting in the works of I. E. Repin ("Manifestation in honor of October 17, 1905"), V. E. Makovsky ("January 9, 1905 on Vasilievsky Island"), And I. Brodsky ("The Red Funeral"), V. A. Serov ("The Funeral of Bauman"), S. V. Ivanov ("Shooting"). We have already mentioned above the numerous works on the revolutionary theme of N. A. Kasatkin, in particular about such canvases as "The Worker-Fighter".

In the revolution of 1905-1907, satirical graphics reached an unprecedented heyday - the most mobile and mass form of art. There are 380 known titles of satirical magazines, published in 1905-1907 in the amount of 40 million copies. Due to its wide scope, the revolution has rallied artists of various directions into a large and friendly detachment. Among the participants in satirical magazines were such great masters as V.A.Serov, B.M.Kustodiev, E.E. Lansere, M.V.Dobuzhinsky, I. Ya.Bilibin, and students of art schools, and non-professional artists ...

Most of the satirical magazines were liberal. The tsarist government, even having issued a manifesto on freedom of the press, actually did not allow the publication of satirical and political magazines of the Bolshevik Party. The only magazine of the Bolshevik orientation - "The Sting", in which AM Gorky participated, was banned after the first issue was published, and its editorial office was destroyed. Nevertheless, the best satirical magazines of 1905-1907, thanks to their incriminating content, the sharpness of topical political thought and purposefulness, were of great educational value.

Most often, their satire, both in the text and in the pictorial part, was directed against the autocracy. The ruling elite of Russia and Tsar Nicholas II himself were especially harshly criticized. The denunciation of the bloody repressions of the tsarist government was also a common theme.

A very courageous magazine of those years was Machine Gun, which owed much to the enterprise and ingenuity of its editor N. G. Shebuev and artist I. M. Grabovsky. Generalized images of the participants in the revolution - a worker, a soldier, a sailor, a peasant - repeatedly appeared on his pages. On the cover of one of the issues of "Machine Gun", against the background of smoking factory chimneys, Grabowski placed an image of a worker and made a significant inscription "His Working Majesty the Proletarian of All Russia".

Il. 212. M. V. Dobuzhinsky. October idyll. "Bogey", 1905, No. 1

The fighting tone was characteristic of many magazines ("Spectator", the most durable of them, "Goblin", "Bogey" and its sequel "Hell Post"). In the last two journals V. A. Serov and many of the world of art collaborated. Both of these magazines were distinguished by the artistry of their illustrations. The first featured the well-known compositions of Serov "Soldiers, brave children, where is your glory?" (Fig. 199), Dobuzhinsky's "October Idyll" (Fig. 212), Lancere - "Trizna" (Fig. 213); in the second - Kustodiev's "Olympus" - caustic caricatures of members of the State Council. Often, the drawings of satirical magazines were in the nature of everyday sketches - scenes on the topic of the day. Allegory, sometimes using popular easel works by Russian artists, sometimes folklore images, was a common form of satire disguise. The activity of most of the satirical magazines of 1905-1907 was born of the revolution and froze along with the strengthening of government reaction.

Art of 1907-1917. The pre-October decade in Russia after the defeat of the revolution of 1905-1907 was a time of hard trials, a rampant Black Hundred reaction. In 1914, the first imperialist world war broke out. In difficult conditions, the Bolshevik Party gathered forces for the offensive, and from 1910 a wave of a new upsurge of the revolutionary movement grew, preparations were underway for the overthrow of the autocracy. Russia was on the eve of the greatest historical events.

The tense situation in the country made Russian artistic life even more difficult. Many artists were in the grip of confusion, vague moods, passionate but groundless impulses, fruitless subjective experiences, and the struggle between artistic trends. Various idealistic theories have become widespread, separating art from reality and democratic traditions. These theories were subjected to merciless criticism by V.I.Lenin.

But even in such a difficult situation, the development of Russian realistic art did not stop. A number of outstanding Itinerants and members of the Union of Russian Artists continued to work actively. Among the artists of the largest creative associations, there have been tendencies towards rapprochement, points of contact in some fundamental issues. During these years, the world of art criticized the widespread individualism, advocated the strengthening of a professional art school, their search for art of a grand style became even more purposeful. NK Roerich expressed the idea that a directional struggle does not exclude the possibility of raising the banner of "heroic realism" corresponding to the time.

The interaction of individual genres of painting intensified, the domestic and classical heritage was rethought, V.A.Serov was one of the first in the 20th century to purify ancient mythology from the old academic pseudo-classicist interpretation, to reveal a realistic principle in it. In the pre-revolutionary decade, only a small number of large, significant in content paintings were created, but it was not by chance that it was then that V. I. Surikov's "Stepan Razin" appeared, which meets the lofty goal of national art - to reflect the great ideas of our time. Significant evidence of the progress of Russian art was the desire of a number of painters - A. E. Arkhipov, L. V. Popov, K. S. Petrov-Vodkin, Z. E. Serebryakova and others - to connect the image of the people with the thought of the Motherland, with their native land ...

Z. E. Serebryakova (1884-1967). Zinaida Evgenievna Serebryakova glorified in her best works the peasant life of the working people. The legacy of A.G. Venetsianov and the great masters of the Renaissance played an important role in the formation of her art. The severity of monumental images, harmony and balance of the composition, solid dense colors distinguish her best paintings. The "Harvest" (1915) and "The Whitening of the Canvas" (1917, ill. XII) stand out, in which the figures shown from a low point of view are so large-scale and the rhythm of the movements is majestic. The canvas is perceived as a monument to peasant labor.

K. S. Petrov-Vodkin (1878-1939). In the early period of his work Kuzma Sergeevich Petrov-Vodkin paid tribute to abstract symbolist tendencies. A close study of the best traditions of the European Renaissance and, most importantly, the line of Russian art that can be traced in the works of the painters of Ancient Russia helped the artist to show the democratism of the world outlook. In the canvases "Mother" (1913 and 1915, ill. 214) and "Morning" (1917), the images of peasant women reflect the high moral purity of the spiritual world of the Russian people. The painting Bathing the Red Horse (1912) is imbued with a premonition of impending social changes. The laconic composition, the dynamics of space, the classical severity of the drawing and the harmony of color, built on the main colors of the spectrum, correspond to the sublime ideological content.

P. V. Kuznetsov (1878-1968). At the beginning of his career, Pavel Varfolomeevich Kuznetsov also experienced the influence of symbolism. The Kyrgyz suite of his canvases (Mirage in the Steppe, 1912, ill. 215; Sheep Shearing, 1912) reflected the poetic interpretation of the image of a working person in the world around him. Simple life stories, unhurried gestures and calm faces of people engaged in the usual work in their native land, the musical structure of the color, the solemnity of the landscape - everything recreates a holistic harmonious image.

Il. 215. P. V. Kuznetsov. Mirage in the steppe. X., tempera. 95 X 103.1912. State Tretyakov Gallery

M. S. Saryan (1880-1972). In a series of paintings based on the impressions of his trips to the countries of the East, Martiros Sergeevich Saryan also poeticizes the folk life he depicted (Street. Noon. Constantinople, 1910; Date Palm. Egypt, 1911, etc.). His laconic works are built on bright and solid color silhouettes, contrasts of rhythm, light and shadow. Paints are emphasized decorative, spatial plans are clearly drawn. The poetry of the images of Saryan's art is determined by his ability to preserve a vivid sense of life with the intense sonority and beauty of the picturesque palette.

The best works of the above-mentioned artists, who later made an invaluable contribution to Soviet art, opened up the prospect of the further development of monumental realistic art, the creation of which belonged to a new historical era.

Portraits in the pre-revolutionary decade, images with in-depth psychology did not receive such a wide development as in the previous period, but a number of examples show their enrichment in the work of outstanding masters. Suffice it to recall the self-portraits of V.I.Surikov and M.V. Nesterov, where the complex spiritual world of a person of art with his anxieties, meditation on life, or the sharp portrait characteristics of V.A.

Continuation of this line of the portrait genre can be seen in the works of S. V. Malyutin (for example, portraits of V. N. Baksheev, 1914, ill. 216, K. F. Yuon, 1916). Pose, posture, gesture and facial expressions convey character, testify to the outstanding personality of representatives of Russian art. The portrait of A.M.Gorky (1910) I.I.Brodsky painted in the same plan.

The painting "The Nun" (1908, ill. 218) by BM Kustodiev is significant in terms of the psychological interpretation of the image. Although the author did not set the task of creating an accusatory work, the power of realistic penetration into the spiritual world of the person portrayed gave this image a certain symbolic meaning. Before us is the keeper of church foundations: both kind, and cunning, and benevolent, and powerful, merciless. However, the art of Kustodiev, full of optimism, is first of all turned to the traditions of Russian antiquity, folk customs and festivals. In his canvases, he combines vivid observation of nature, imagery and bright decorativeness ("The Merchant's Wife", 1915, ill. 219; "Maslenitsa", 1916).

The 1910s are associated with great successes in the field of a new genre - theatrical portrait, where the artist has a difficult creative task - to show the inspiration of the actor, his transformation into a stage image. The championship here belongs to A. Ya. Golovin. Knowing perfectly the features of the scene and drama, he created a majestic and tragic image in the portrait of F. I. Shalyapin in the role of Boris Godunov (1912, ill. 220).

The landscape in one way or another attracted all artists: they were united in this genre by pictorial and coloristic searches. However, for many, the image of nature turned into a solution to a sketch problem, not a picture problem, as it was in the 19th century. In the pre-revolutionary period, only a few major masters succeeded, depicting nature, to convey the epic feeling of the homeland - lyrical motives prevailed. AA Rylov turned to the traditions of landscape painting (Green Noise, 1904, ill. 217). His romantic painting Swans over the Kama (1912) foreshadowed the painting In the Blue Space, created after the Great October Socialist Revolution. The growing interest in the national heritage has caused the emergence of a number of picturesque suites dedicated to ancient Russian cities. Including everyday scenes in the composition, the artists showed nature and man equally acting in a landscape painting ("In Sergiev Posad" by K. F. Yuon, etc.).

Landscape painters, mostly representatives of the "Union of Russian Artists", significantly enriched their painting skills. It was here that etudes, a lyrical interpretation of motifs, often village motifs, prevailed, dating back to A.K.Savrasov, V.D. Polenov and I.I. Levitan, which testified to the preservation of democratic traditions. Plein air painting was replenished with such integral in color and poetic landscapes as "Kem" (1917) by K. A. Korovin, "Towards evening" by N. P. Krymov, the best works of S. A. Vinogradov ("Flower garden", "Spring", 1911, ill. 221) and S. Yu. Zhukovsky ("Plotina", 1909, ill. 222; "Joyful May", 1912).

Intensive development and still life... Now this genre is represented by the works of a number of artists from various creative associations, it is diverse in motives, content and tasks. In his numerous still lifes, K.A.Korovin attached great importance to decorativeness, beauty of color. The same beginning is typical for the works of S. Yu. Sudeikin and N. N. Sapunov. IE Grabar enriched painting with the achievements of impressionism ("Uncleaned Table", 1907, ill. 223, etc.).

In the field of still life, as well as landscape and portrait, the artists of the "Jack of Diamonds" association, which arose in 1910, actively worked: P. P. Konchalovsky, I. I. Mashkov, A. V. Lentulov, A. V. Kuprin and others. In search of the national originality of art, they used the traditions of the national primitive (popular print, signboards, painting trays, etc.), but they also found connections with contemporary French art, primarily with Cézanne and his followers. The best works of the masters of this group, written in a materially weighty manner, with a decorative scope, expressed their love of life and a great pictorial culture. Such are, for example, the grotesque "Portrait of GB Yakulov" (1910, ill. 224) and still life "Agave" (1916) by P. P. Konchalovsky, "Pumpkin" (1914, ill. 225) and "Still life with brocade" (1917) I. I. Mashkov.

Theatrical and decorative art experienced a brilliant heyday: many leading painters worked for the theater. Suffice it to mention the names of V. A. Simov, V. A. Serov, A. Ya. Golovin, A. N. Benois, K. A. Korovin, L. S. Bakst, N. K. Roerich, I. Ya. Bilibin , B. M. Kustodiev and a number of performances designed by them ("Petrushka" by I. F. Stravinsky - A. N. Benois; "Prince Igor" by A. N. Borodin - N. K. Roerich; "Masquerade" by M. Yu. Lermontov - A. Ya. Golovin and others). "Russian Seasons" in Paris and other cities of Western Europe, organized by S. P. Diaghilev, in the design of the performances of which many of the named masters participated, glorified Russian art on the international arena. The high artistic level of scenery and costumes, the whole appearance of the stage action amazed foreigners with the synthesis of arts, a spectacle of extraordinary beauty and national originality.

As mentioned above, the development of realism in 1907-1917 was complicated by the crisis of bourgeois culture. The least stable part of the artistic intelligentsia, although it was captured by the general spirit of protest against bourgeois reality, succumbed to depressive moods, drifted away from modernity and social life, rejected democratic traditions in art, but this protest itself usually had the character of an anarchist rebellion. Earlier than all, these negative phenomena were reflected in the works shown at the exhibition "Blue Rose", organized in 1907 and united artists of the Symbolist orientation. The members of this short-lived grouping asserted the dominance of intuitionism in artistic creation, went into the world of mystical ghostly fantasies. But the most gifted and purposeful ones (P.V. Kuznetsov, M.S. Saryan and some others) already in the pre-October decade followed the democratic path of development in their work.

A number of artists, especially young ones, were drawn into the mainstream of modernist trends in the 1910s. Some of them - the supporters of Cubism, Futurism - claimed the conformity of their form-creation to the age of engineering and technology, others - primitivists - on the contrary, sought to return to the immediacy of the perception of the world by an uncivilized person. All these trends were intricately intertwined in the art of the pre-October decade. They touched upon the painting of "The Jack of Diamonds", while stylistic-primitivist tendencies were especially evident among the representatives of the group with the boldly shocking name "Donkey's Tail". Ultimately, all the varieties of formalism that then spread in Russian art led to a distortion of reality, the destruction of the objective world, or, finally, to the dead end of abstractionism (Rayonism, Suprematism) - an extreme expression of modernism.

The contradictions in the Russian artistic life of 1907-1917 did not stop the progressive development of realistic art in this difficult time. The progressive Russian masters felt the approach of social changes, consciously or intuitively felt the need to bring their work in line with the scale of events of a turbulent historical era. After the Great October Revolution, artists of all generations, some earlier and others later, joined in building a new socialist culture, placing their art at the service of the revolutionary people; under the influence of Soviet reality, there was a restructuring of those who previously rejected realism as a method.

On the image: “Migrants. Walkers ". 1886.

On the picture: "Displaced person in a carriage", 1886.

On the picture: “On the road. Death of an immigrant ”. 1889.

On the image: "Time of Troubles" (Tushino camp)

Ivanov was an innovator of the historical genre, composing episodes of the Russian Middle Ages - in the spirit of the Art Nouveau style - almost like motion pictures, capturing the viewer with their dynamic rhythm, "the effect of presence" (Arrival of foreigners to Moscow in the 17th century, 1901); "King. XVI century "(1902), Hike of Muscovites. XVI century, 1903). In them, the artist took a fresh look at the historical past of his homeland, depicting not heroic moments of events, but scenes of everyday life from ancient Russian life. Some of the images are written with a touch of irony and grotesque. In 1908-13 he completed 18 works for the project "Pictures on Russian History".

On the image: "St. George's Day". 1908

On the image: "Campaign of the Troops of Moscow Rus", XVI century, painting in 1903.

On the picture: "Inspection of service people", no later than 1907

Later, the artist worked on the painting “They're Coming! The Punitive Squad "(1905-1909, Tretyakov Gallery).

In the picture: They're coming! Punitive detachment.

Pictured: Family, 1907

In the picture: The arrival of the governor

Pictured: German, 1910

Pictured: Village riot, 1889

In the picture: At the prison. 1884 year

On the picture: Arrival of foreigners. 17th century. 1901 year

On the image: Boyar serfs. 1909 year

Nikolay Dmitrievich Dmitriev-Orenburgsky

April 1 (13), 1837 or November 1, 1838, Nizhny Novgorod - April 21 (May 3) 1898, St. Petersburg

Ivan Kramskoy Portrait of the artist Nikolai Dmitrievich Dmitriev-Orenburgsky. 1866 g.

Russian genre and battle painter, graphic artist, academician and professor of battle painting at the Imperial Academy of Arts, participant in the "riot of fourteen", one of the founders of the St. Petersburg Artists' Artel.
Nikolai was born into the family of a landowner of the Orenburg province in Nizhny Novgorod, spent his childhood in his father's parental home, then graduated from the provincial gymnasium in Ufa, and later moved with his parents to St. Petersburg. Here the young man began to prepare for admission to the cadet school. It is not known how Nikolai's parents were acquainted with the famous painter Vasily Kozmich Shebuev (April 2 (13), 1777, Kronstadt - June 16 (28), 1855, St. Petersburg) - a full state councilor, academician, since 1832 Honored Rector of the Imperial Academy of Arts. Also, historians are silent, how zealously and at what age the boy became interested in drawing. But the fact remains, on the advice of Shebuev, Nikolai, as they wrote in the magazine "Niva" in 1898, "in view of the revealed talent", entered the Imperial Academy, where he became a student of Shebuev's student, academician in painting and academician in the rank of Fyodor Bruni.

Fyodor (Fidelio) Antonovich Bruni (June 10, 1799, Milan - August 30 (September 11) 1875, Petersburg) in 1855 he was appointed rector of the Academy in the department of painting and sculpture, in 1866 he created and headed the mosaic department. Bruni was generally a titled painter - an honorary member of the Art Academies in Bologna and Milan, an honorary professor at the Florentine Academy of Arts and the Academy of St. Luke in Rome.
At the Academy, Nikolai made great strides; over the years of study, he received four small and one large silver medals at academic competitions. In 1860, he was finally awarded the Minor Gold Medal for the program film "Olympic Games". The next two years, the artist worked on the creation of large canvases "Grand Duchess Sofia Vitovitovna at the wedding of Grand Duke Vasily the Dark" (1861, Irkutsk Regional Art Museum named after V.P.Sukachev) and "Streletsky revolt" (1862, Taganrog Art Museum) finally, get the Big Gold Medal. By the way, this is Dmitriev-Orenburgsky's first appeal to the topic of Peter I.

Nikolai Dmitriev-Orenburgsky Grand Duchess Sofia Vitovtovna at the wedding of Grand Duke Vasily the Dark. 1861 Irkutsk Art Museum. V.P. Sukacheva

Nikolay Dmitriev-Orenburg Streletsky riot. 1862 Taganrog Picture Gallery

Nikolai Dmitriev-Orenburg Tsarevich Peter. Study for the painting Strelets' riot. 1862 g.

Alas, the works presented did not receive the desired award, but the artist decided to participate in the competition for the third time. But in that very same year, 1863, the famous "revolt of 14 graduates", led by Ivan Kramskoy, took place at the Academy, who refused to fulfill the programmatic theme he proposed. Dmitriev-Orenburgsky, among this group of "rebels" left the Academy of Arts, receiving the modest title of a class artist of the II degree. He immediately took part in the creation of the St. Petersburg Artists' Artel, of which he was a member until 1871. In his work, the artist became interested in the folk genre, became interested in the life of the common people, every summer he went to the village, studying the life of the peasants.

Nikolay Dmitriev-Orenburgsky Village scene. 1860s Perm Picture Gallery

In addition to genre paintings, Dmitriev-Orenburgsky also painted portraits and illustrated a lot, in particular, the works of Nikolai Nekrasov and Ivan Turgenev.

Nikolay Dmitriev-Orenburgsky Portrait of a woman in an open dress. Donetsk Art Museum
Nikolay Dmitriev-Orenburgsky Woman playing with her dog. 1868 g.

In 1868, at the Academic exhibition, his painting "The Drowned Man in the Country" (Russian Museum) was noted, for which the artist of the 2nd degree received the title of academician.

Nikolay Dmitriev-Orenburgsky Drowned man in the village. 1868 Russian Museum, St. Petersburg

From that time on, Nikolai, so that he would not be confused with other painters Dmitrievs, began to sign with a double surname, adding to his epithet "Orenburg". Although the search engine told me that all the famous artists Dmitrievs were born in the twentieth century, and the artist's contemporaries, namesakes, are only mentioned about Dmitry Mikhailovich Dmitriev (1814-1865).
In 1869, Dmitriev-Orenburgsky, as part of the retinue of Grand Duke Nikolai Nikolaevich the Elder, traveled across the Transcaucasia and the Caucasus, as well as the Kharkov and Voronezh provinces. During the trip, the artist compiled an album of 42 pencil drawings for the prince.
In 1871, a new stage began in the life and work of Dmitriev-Orenburgsky. At the expense of the Academy, the artist is sent abroad as a pensioner for three years. All this time he spends in Dusseldorf, where he visits the workshops of famous painters-genre painters - Swiss by origin Benjamin Vautier (April 27, 1829 - April 25, 1898) and German Ludwig Knaus (October 5, 1829, Wiesbaden - December 7 1910, Berlin). At the end of the three-year period of study, Nikolai did not return to his homeland, but moved to France. The next ten years of his life he spent in Paris, these years were an active period in the artist's work. He became one of the organizers of the Parisian Society for Mutual Assistance and charity of Russian artists ", annually exhibited at the Paris Salon, only occasionally sending his works to St. Petersburg, worked for French illustrated publications. Most of the works written in France were sold there, so this part of the artist's legacy was" lost "in private collections and is still unknown to the general public. However, as historians write, living in Paris, Dmitriev-Orenburgsky in in his work he did not break with his homeland, since he wrote mainly genre paintings of Russian life.

Nikolay Dmitriev-Orenburgsky I.S. Turgenev on the hunt. 1879 g.

But it was in France that he switched from genre to battle painting, the reason for this was the Russian-Turkish war of 1877-1878 for the liberation of the Balkan peoples from the Turkish yoke and the patriotic feelings of the artist himself. Some sources write that Dmitriev-Orenburgsky even went to the active army. But, for the sake of truth, it is worth noting that this was not. The Military Encyclopedia, published in 1911-1914, states that "the artist was not prepared to depict military life, since he lived in Paris during the war."

Nikolay Dmitriev-Orenburgsky At the well.

Nikolay Dmitriev-Orenburgsky Portrait of a Russian volunteer. 1878 g.

After the end of the war, Dmitriev-Orenburgsky presented several sketches of paintings depicting moments of hostilities of the Russian army to Emperor Alexander II. Having received the highest approval and thanks to his personal acquaintance with the Grand Duke Nikolai Nikolaevich, the artist receives an order from the emperor himself for a series of battle paintings dedicated to the Russian-Turkish war. From now on, the military theme becomes the main one in the artist's work. Art critics have calculated that he painted over thirty paintings dedicated to the events of this war.

Nikolay Dmitriev-Orenburg Capture of the Grivitsky redoubt near Plevna. 1885 g.

In order to have the necessary material for work and the opportunity to fulfill the order, the artist returned to St. Petersburg in 1885, then went “on location” to Bulgaria. The military encyclopedia writes that "this great work, which took 9 years of life, makes us give the artist a worthy place in the history of our battle painting." After returning to his homeland, the artist's paintings began to appear at annual art exhibitions and always attracted the attention of critics. Works by Dmitriev-Orenburg, among which - "Crossing the Danube", "Surrender of Nikopol", "Capture of the Grivitsky redoubt", "Fighting at Plevna", "The occupation of Adrianople", "VK Nikolay Nikolaevich's entry to Tarnovo", etc. , even received a positive assessment of the battle-fighter VV Vereshchagin, who was stingy in praise.

Nikolay Dmitriev-Orenburgsky The crossing of the Russian army across the Danube near Zimnitsa on June 15, 1877. 1883 g.

Back in 1883, the Academy of Arts awarded the title of professor of painting to its former rebel student for the paintings “The Battle of the Sistov Heights of the Convoy of Emperor Alexander II” and “The Entry of the Emperor to the City of Ploiesti”. A series of ten paintings at the behest of Emperor Alexander III was placed in the Pompeyev Gallery of the Winter Palace. And the painting "The Presentation of Osman Pasha to Emperor Alexander II" at one time was depicted in all illustrated magazines and printed on postcards.

Nikolay Dmitriev-Orenburgsky Presentation of Osman Pasha to Emperor Alexander II. 1890s
The full name of the painting - Captive Osman Pasha, who commanded the Turkish troops in Plevna, is presented to His Imperial Highness Sovereign Emperor Alexander II, on the day of the capture of Plevna by Russian troops on December 29, 1877.

However, the authors of the same Military Encyclopedia were very critical of Dmitriev-Orenburgsky's battle painting. The encyclopedia wrote: “In these paintings, the artist is a representative of realism, striving for truthfulness and simplicity of the image, but, in the absence of strong talent and direct combat impressions, he could not give his paintings either historical grandeur or dramatic expressiveness. These are realistic, decent, but dry illustrations that do not attract attention with their artistic side. " It is worth noting that this encyclopedia was published after the artist's death.

Nikolay Dmitriev-Orenburgsky General ND Skobelev on horseback. 1883 g.

Nikolai Dmitriev-Orenburgsky Entry of the Grand Duke Nikolai Nikolaevich to Tarnovo on June 30, 1877. 1885 g.

Nikolay Dmitriev-Orenburgsky Soldiers in the village. 1897 g.

I will also note that Dmitriev-Orenburgsky did not completely abandon his favorite genre and folk theme. In the 1880s, he presented new works at exhibitions: "Near the Village", "Meeting", "Peasant Girl", "Resurrection in the Country", alas, the fate of some of these paintings is unknown.

Nikolay Dmitriev-Orenburgsky Meeting. 1888 Odessa Art Museum

Nikolay Dmitriev-Orenburgsky Sunday in the village. 1884 g.

The famous painting "Fire in the Village" (1885), for example, was acquired by the Emperor himself for his collection; now the painting is kept in the Russian Museum.

Nikolai Dmitriev-Orenburg Fire in the village. 1885 g.

Dmitriev-Orenburgsky actively continued to work in the field of book illustration, collaborated with the magazines "Niva", "Bee", "North", "Picturesque Review" and others. In addition to illustrations for the works of Pushkin, Turgenev and Nekrasov, the artist created a large series of historical drawings, depicting the events of the times of Ivan the Terrible, Peter the Great and Catherine II. Moreover, critics noted "deep knowledge of the era and the ability to capture the psychology of historical figures." Below is a series of engravings made by
Nikolai Dmitrievich Dmitriev-Orenburgsky died in 1898 in St. Petersburg at the age of 60.

The main sources are Wikipedia, electronic encyclopedias and magazine "Niva" for 1898.