Russian easel landscape of the 18th-19th centuries. Landscape artists
- Specialty of the Higher Attestation Commission of the Russian Federation17.00.04
- Number of pages 187
Chapter 1. Lively landscape in the view of temporary 11
Chapter 2. Landscape genre at the Academy of Arts 41
Chapter 3. Typological and compositional features landscapes in RKOM TV of the 18th century 74
Chapter 4. Easel landscape and landscape motifs in monumental and decorative painting, engraving, graphics and arts and crafts 90
Chapter 5. Landscape as an element of other genres 117
Chapter 6. The place of landscape in art collections and interiors of the 18th century 132
Recommended list of dissertations in the specialty "Fine and decorative arts and architecture", 17.00.04 code VAK
Russian landscape of the mid-19th century: The problem of formation and development paths 2000, candidate of art history Krivondenchenkov, Sergey Viktorovich
MM. Ivanov and landscape graphics in Russia in the second half of the 18th century 2005, candidate of art history Kaparulina, Olga Anatolyevna
Landscape painting of Altai 1960-1970s. 2002, candidate of art history Nekhvyadovich, Larisa Ivanovna
Decorative paintings by Italian artists in the interiors of St. Petersburg at the end of the 18th - first third of the 19th century 2005, candidate of art history Trefilova, Irina Viktorovna
Typology of landscape images of the masters of the "World of Art" in the context of Russian artistic culture of the late 19th - early 20th centuries 2013, candidate of art history Grishina, Ekaterina Valerievna
Introduction of the dissertation (part of the abstract) on the topic “Landscape in Russian artistic culture of the 18th century: Features of the genre and its existence”
The work is devoted to the Russian easel landscape of the 18th century, as well as works related to the landscape genre in graphics, monumental painting, decorative and decorative arts.
The history of the landscape genre in the context of the problems of Russian artistic culture of the 18th century has been considered for quite a long time in works devoted to the fine arts of this era. In modern art history, with varying degrees of detail, it received coverage in the multi-volume “History of Russian Art”, ed. I.E. Grabar, in the fundamental works of N.N. Kovalenskaya (“History of Russian Art of the 18th Century” and “Russian Classicism”), A.A. Sidorov “Drawing of Old Russian Masters” (1) and other studies. In these works, based on rich factual material, the work of the most outstanding masters of the landscape genre in easel and decorative painting, as well as in the field of graphics.
Issues related to the creation of picturesque landscapes at the St. Petersburg Academy of Arts are discussed in the book by N. Moleva and E. Belyutin “The Pedagogical System of the Academy of Arts in the 18th Century.” (2) It analyzes the theoretical foundations and practical methods of teaching in landscape and perspective classes, and addresses the issue of the role of genre in the structure of academic education.
Information about the peculiarities of the development of the landscape genre is also contained in works devoted to the history of engraving and monumental decorative painting. The most significant of them is the MA book. Alekseeva about Russian engraving of the 18th century and V. Belyavskaya’s monograph “Murals of Russian Classicism”. (3)
The number of monographic studies on Russian landscape painters of the 18th century is relatively small. Among them, we highlight the work of M.S. Konopleva about Sem.F. Shchedrin, where materials for the artist’s biography (4) and numerous articles by M.A. are collected. Alekseeva, covering the activities of M.I. Makhaeva. The main attention of art historians was attracted by F.Ya. Alekseev. Books and articles about the master of urban views were written at different times by I. Grabar, A.A. Fedorov-Davydov, E.N. Atsarkina, M.I. Androsova, N.N. Skornyakova. (5)
The only comprehensive study devoted to Russian landscape painting XVIII - early XIX century, belongs to A.A. Fedorov-Davydov. (6) Published in 1953, it remains of great scientific value to this day. Extensive factual material gives this work a truly encyclopedic character. Along with the historical and chronological one, a problematic approach was used here, which made it possible to trace the formation of landscape as a genre in Russian art. In the context of general problems, the author analyzes the work of the most significant representatives of the landscape genre of the 18th and early 19th centuries: Semyon Shchedrin, Fyodor Matveev, Mikhail Ivanov, Fyodor Alekseev, Sylvester Shchedrin.
In our work, we relied heavily on this fundamental work. It served as an important support in the study of the topic, a kind of starting point that largely determined the design of the research undertaken. However, some of its provisions and attribution information require updating and may be the subject of discussion.
A.A. Fedorov-Davydov considers the 18th century as the initial stage in the formation of the Russian landscape school. One of the main tasks of the researcher is to identify its national identity. The scientist represents the general formation and development of the landscape genre in Russian art of the 18th century as a steady, progressive movement from a decorative, conventional landscape image to semantic and pictorial realism. Today, this position needs some adjustment.
The possibility of further studying issues related to the history of a very important genre for Russian art is far from exhausted. This also applies to the artistic features of easel and decorative landscapes, as well as the problem of existence, which is closely related to their participation in the formation of the artistic environment of the era. The role of Western European landscape painters and their works that existed in the context of Russian artistic culture is far from completely clear. For quite a long time, the desire to emphasize the independence and originality of the development of domestic fine art was accompanied by a lack of attention to the pan-European context.
The original meaning of the terms used to characterize easel and decorative landscapes in the 18th century also needs clarification and clarification. In modern literature, their inaccurate interpretation often leads to distortion of the content and confusion of different types of landscapes. All this determines the relevance of the study of one of the leading genres of Russian painting.
It should be noted that the dissertation put forward for defense does not represent yet another history of landscape in Russian art of the 18th century. The main goal is to study the "landscape vision" of the era?
Features of the creation and further existence of a picturesque landscape as a subject of professional art in Russian artistic life of that time. Identification of the relationships between the spheres of artistic production and consumption in the field of the landscape genre determines the scientific novelty of the research.
The purpose of the work necessitates the formulation and solution of a number of problems. Particular attention is focused on the analysis of judgments about the content of the landscape image that were expressed by contemporaries: fine art theorists, writers, and lovers of the fine arts. In the context of the problem of perception, we considered it necessary to compare the features of the figurative and compositional structure of the pictorial and literary landscape in the second half of the century.
The dissertation examines the position of the landscape genre in the St. Petersburg Academy of Arts, revealing the relationship of easel landscape with similar works in decorative and monumental painting, engraving, original graphics, and painting on porcelain. The decorative and semantic possibilities of landscape as an element of other genres are revealed.
One of the most important tasks is to clarify the role of the pan-European tradition in the process of forming the national genre structure. In the context of the problem of educational copying, a number of Western European landscape “samples” used within the walls of the Academy are clarified. Features of the perception and existence of architectural and natural views in Russian art are demonstrated by the classification carried out in the dissertation typological structure genre.
The easel landscape is being explored as a collectible and one of the ways decoration interiors. The meaningful role of easel and decorative types in various types of apartments is reconstructed.
To solve these problems, a number of paintings from the funds of the State Tretyakov Gallery, the State Russian Museum, the State Historical Museum, used wide circle various kinds of publications and materials from the collections of the Russian State Historical Archive, the Russian State Archive of Ancient Acts, the scientific and bibliographic archive of the Academy of Arts, the manuscript department of the State Tretyakov Gallery and the State Public Library in St. Petersburg.
The study of contemporaries’ ideas about the role and tasks of the landscape genre was based on the works of Russian fine art theorists of the 18th century, who served as guides for students of the Academy of Arts: A.M. Ivanova, I.F. Urvanova, P.P. Chekalevsky, A.I. Pisarev, (7) as well as the works of Western European philosophers and figures in the field of fine arts. In this sense, the works of the French art critic D. Diderot are of particular value.
Important sources containing numerous information about Russian landscape painters who studied at the Academy of Arts and reflecting the history of its landscape and perspective classes are the Collection of materials on the history of Imp. Academy of Arts P.N. Petrova, Dictionary of Russian Artists N.P. Sobko, Dictionary of Russian Engravers, ed. YES. Rovinsky. (8)
Material for studying the role of easel landscapes in public and private collections is contained in the work of J. Shtelin, published by K. Malinovsky, “A Brief Inventory of Objects Constituting the “Russian Museum” of Alexander Svinin.” (9) Valuable evidence of the significance of the works of Western European landscape painters in the field of domestic art education was discovered by us when working with collection registers and inventories, as well as with the collection of art publications and prints in the library of the Academy of Arts, where the best collection of engravings in the world has been preserved since the 18th century. .-B. Piranesi, French and English editions of the 17th and 18th centuries.
The time frame of the dissertation covers the period from the beginning of the 18th century to the turn of the 19th century. The greatest attention is paid to the second half of the 18th century - a time of active creation of its own genre structure based on the pan-European tradition.
The research method used in the work combines art history and historical and cultural analysis.
Notes:
1. History of Russian art / Ed. Academician I.E. Grabar / Academy of Sciences of the USSR. M., 1961; Kovalenskaya N.N. History of Russian art of the 18th century. M., 1962; Kovalenskaya N.N. Russian classicism. Painting, sculpture, graphics. M., 1964; Sidorov A.A. Drawing by old Russian masters. M., 1956.
2. Moleva N. Belyutin E. Pedagogical system of the Academy of Arts in the 18th century. M., 1956.
3. Alekseeva M.A. Engraving from the time of Peter the Great. M., 1990; Belyavskaya V.
Paintings of Russian classicism. JI.-M., 1940.
4. Konopleva M.S. S.F. Shchedrin. Materials for biography and characteristics of creativity // Materials on Russian art. JL, 1928. pp. 143-160.
5. Grabar I. Fedor Yakovlevich Alekseev // Old Years, 1907, July-September. pp. 357-390; Fedorov-Davydov A.A. Fedor Yakovlevich Alekseev. M., 1955; Atsarkina E.N. F. Alekseev // Communications of the Institute of Art History. M., 1954. No. 4-5. pp. 76 - 96; Androsova M.I. Fedor Alekseev. JL, 1979; Skornyakova N.N. Views of Moscow at the beginning of the 19th century. Painting and graphics by F. Alekseev and his workshop // Pages of the artistic heritage of Russia of the 16th-20th centuries. Proceedings of the State Historical Museum. Vol. 89. M., 1997. pp. 33-48.
6. Fedorov-Davydov A.A. Russian landscape of the 18th - early 19th centuries. M., 1953.
7. Ivanov A.M. The concept of a perfect painter, which serves as the basis for judging the works of painters, and a note on portraits. St. Petersburg, 1789; Pisarev A. Inscription of art or Rules in painting, sculpture, engraving and architecture, with the addition of various passages regarding art selected from the best writers. St. Petersburg, 1808, Urvanov I.F. A short guide to the knowledge of historical drawing and painting, based on speculation and experience. Composed for students by the artist I. U. St. Petersburg, 1793; Chekalevsky P.P. Discussion on the free arts with a description of some works Russian artists. Published in favor of the Students of the Imperial Academy of Arts by the Advisor to the Embassy and thereof
Academy Conference Secretary Peter Chekalevsky. St. Petersburg, 1792 (republished by the Research Institute of Theory and History fine arts, M., 1997. Footnotes on reprint.)
8. Rovinsky D.A., comp. Detailed dictionary of Russian engravers of the XVI-XIX centuries. St. Petersburg, 1895. T. 1-4; Collection of materials for the history of the Imperial St. Petersburg Academy of Arts over a hundred years of its existence. Published under the editorship of P.N. Petrov and with his notes. St. Petersburg, 1864; Sobko N.P., comp. Dictionary of Russian artists. St. Petersburg, 1893.
9. Svinin P.P. Collection of Excellent Works of Russian Artists and Curious Domestic Antiquities Belonging to Pavel Svinin. Started in 1819. St. Petersburg; Shtelin Ya. Notes of Jacob Shtelin about the fine arts in Russia. M. 1990. T 12.
Conclusion of the dissertation on the topic “Fine and decorative arts and architecture”, Usacheva, Svetlana Vladimirovna
Conclusion
The work carried out showed that the processes of creating and using picturesque landscapes in various spheres of Russian artistic culture are closely interrelated. As we have seen, the peculiarities of the existence of easel landscapes largely determined the development of the domestic landscape school. In the first half of the century, they came to Russia mainly from outside as collectibles. In the second half of the century, the process of creating a domestic typological and figurative structure of the genre began. It took place in line with the pan-European tradition. As evidenced by the material reviewed, being in collections and interiors, the works of foreign landscape painters participated in shaping the tastes of Russian customers and provided the opportunity for domestic artists to become acquainted with the principles and practical methods of creating landscapes. Ideas about the content of species and the tasks of landscape painting in Russian culture reflected judgments widespread throughout Europe.
Analysis of the collected material revealed the significant role of samples or “originals” of the Dutch, Flemish, Italian and French schools in the training of landscape painters at the Academy of Arts, where the copying method was one of the main ones in the training of painters. The importance of landscape in the academic genre structure is evidenced by the participation of landscape elements in other pictorial genres. The landscape background played particular importance in portrait and genre painting.
The Academy, being one of the main collectors of Western European easel landscapes, was the place where the national landscape structure was created. The classification of landscape types carried out in the work demonstrates the intensity of the development of the old Western tradition and, at the same time, its creative interpretation. The domestic landscape genre is an organic part of the pan-European landscape culture of the 18th century. This primarily applies to image types. Among them, views of cities predominate, especially capital cities, as well as Italian and manor landscapes. As we tried to show, these types have the characteristic features of “topographical” landscapes (that is, they depict real-life locations and monuments), and, at the same time, follow the classical landscape “scheme”, which includes generally accepted techniques of spatial and coloristic construction of paintings, as well as certain points of view on the most famous architectural structures and natural views.
This situation reveals the greatest closeness to English artistic culture. The founder of the “topographical” landscape, valued by customers for its “portraiture” authenticity, is considered to be A. Canaletto, an outstanding representative of the classical landscape tradition, a master of urban painting. His work, widely popular in England, served as an impetus for the development of his own landscape school, in which urban and estate views predominated.
However, if in England such types of landscapes, according to D. Wedgwood, were common not only in the houses of the nobility, but also of gentlemen, in Russia they became primarily part of the culture of the nobility. Thus, the specificity artistic features The domestic landscape, as in other countries, largely depended on the socio-public context.
The collected material shows that the main place in Russian collections (primarily royal ones) was occupied by “rural” types of Dutch and Flemish artists, the most democratic in content. They also played an important role in the education of domestic painters, attracting academic teachers with their artlessness of landscape motifs and “thorough”, that is, reliable rendering of nature. More sophisticated park views with gallant scenes, as well as landscapes with exotic architectural monuments and fantastic ruins were more often used for interior painting and in painting on porcelain. Easel landscapes, used to decorate palace and private interiors, were also primarily decorative in nature.
Today, the most promising seems to be further research into picturesque landscapes and “landscape vision” as part of the artistic environment of the era. The structure of the genre appears in this case as the result of the joint efforts of customers and creators of works. At this stage, without pretending to make final conclusions and generalizations, we will make some assumptions in this area.
In our opinion, the circle of customers, initially limited to the nobility, largely determined the typological features of the emerging structure of the landscape genre and its further development. In particular, the popularity of estate views, widely represented in Russian paintings and engravings, reflected the flourishing of estate culture in Russia in the second half of the 18th century. At the end of the century, we can talk about the expansion of the social environment in which landscapes, both painted and engraved, exist. The interest of customers of different social status in the types of cities, old and new, domestic and foreign, is indicative. Thus, engravings by J.-B. Piranesi, representing the architectural antiquities of Rome, were commissioned by I.I. Shuvalov simultaneously for Catherine II and the Academy of Arts. At the same time, they went on free sale in St. Petersburg. About attention
The popularity of landscapes of St. Petersburg and Moscow by F.Ya. testifies to the popularity of Russian lovers of images of their own capitals. Alekseev, orders for which he carried out for the Academy and individuals. The works of B. Paterson, which he created specifically for sale, as well as the works of other artists who painted views of capitals and their environs, were successful among the general public. Further study of the commercial activities of the Academy, in particular, sales from Factorskaya, may make it possible to more accurately determine the circle of customers for landscapes and identify their preferences.
It can be said that identifying connections between the spheres of creation and existence of picturesque landscapes makes it possible to consider the development of the landscape genre in the domestic school as an integral process that unites the creators of works and their consumers.
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Majestic and diverse Russian painting always delights viewers with its inconstancy and perfection of artistic forms. This is a feature of the works of famous art masters. They always surprised us with their extraordinary approach to work, their reverent attitude towards the feelings and sensations of each person. Perhaps this is why Russian artists so often depicted portrait compositions that vividly combined emotional images and epically calm motifs. No wonder Maxim Gorky once said that an artist is the heart of his country, the voice of an entire era. Indeed, the majestic and elegant paintings of Russian artists vividly convey the inspiration of their time. Similar to the aspirations of the famous author Anton Chekhov, many sought to bring into Russian paintings the unique flavor of their people, as well as an unquenchable dream of beauty. It is difficult to underestimate the extraordinary paintings of these masters of majestic art, because truly extraordinary works of various genres were born under their brushes. Academic painting, portrait, historical picture, landscape, works of romanticism, modernism or symbolism - all of them still bring joy and inspiration to their viewers. Everyone finds in them something more than colorful colors, graceful lines and inimitable genres of world art. Perhaps such an abundance of forms and images with which Russian painting surprises is connected with the enormous potential of the artists’ surrounding world. Levitan also said that every note of lush nature contains a majestic and extraordinary palette of colors. With such a beginning, a magnificent expanse appears for the artist’s brush. Therefore, all Russian paintings are distinguished by their exquisite severity and attractive beauty, which is so difficult to tear yourself away from.Russian painting is rightfully distinguished from the world artistic arts. The fact is that until the seventeenth century, domestic painting was associated exclusively with religious theme. The situation changed with the coming to power of the reforming tsar, Peter the Great. Thanks to his reforms, Russian masters began to engage in secular painting, and icon painting separated as a separate direction. The seventeenth century is the time of such artists as Simon Ushakov and Joseph Vladimirov. Then, in Russian art world portrait was born and quickly became popular. In the eighteenth century, the first artists appeared who moved from portraiture to landscape painting. The artists’ pronounced sympathy for winter panoramas is noticeable. The eighteenth century was also remembered for the emergence of everyday painting. In the nineteenth century, three movements gained popularity in Russia: romanticism, realism and classicism. As before, Russian artists continued to turn to the portrait genre. It was then that the world-famous portraits and self-portraits of O. Kiprensky and V. Tropinin appeared. In the second half of the nineteenth century, artists increasingly depicted the common Russian people in their oppressed state. Realism becomes the central movement of painting of this period. It was then that the Itinerant artists appeared, depicting only real, real life. Well, the twentieth century is, of course, the avant-garde. The artists of that time significantly influenced both their followers in Russia and throughout the world. Their paintings became the forerunners of abstract art. Russian painting is a huge amazing world talented artists who glorified Russia with their creations
Since time immemorial, people have always admired nature. They expressed their love by depicting it in all kinds of mosaics, bas-reliefs and paintings. Many great artists devoted their creativity to painting landscapes. The paintings depicting forests, sea, mountains, rivers, fields are truly mesmerizing. And we need to respect the great masters who so detailed, colorful and emotional conveyed in their works all the beauty and power of the world around us. It is landscape artists and their biographies that will be discussed in this article. Today we will talk about the work of great painters of different times.
Famous landscape painters of the 17th century
In the 17th century there lived many talented people who preferred to depict the beauty of nature. Some of the most famous are Claude Lorrain and Jacob Isaac van Ruisdael. We will begin our story with them.
Claude Lorrain
The French artist is considered the founder of landscape painting during the classical period. His canvases are distinguished by incredible harmony and ideal composition. Distinctive feature K. Lorrain’s technique was the ability to flawlessly convey sunlight, its rays, reflection in water, etc.
Despite the fact that the maestro was born in France, he spent most of his life in Italy, where he left when he was only 13 years old. He returned to his homeland only once, and then for two years.
The most famous works K. Lorrain's paintings are “View of the Roman Forum” and “View of the port with the Capitol”. Nowadays they can be seen in the Louvre.
Jacob Isaac van Ruisdael
Jacob van Ruisdael, a representative of realism, was born in Holland. During his travels in the Netherlands and Germany, the artist painted many remarkable works, which are characterized by sharp contrasts of tones, dramatic colors and coldness. One of the striking examples of such paintings can be considered “European Cemetery”.
However, the artist’s work was not limited to gloomy canvases - he also depicted rural landscapes. The most famous works are considered to be “View of the Village of Egmond” and “Landscape with a Watermill”.
XVIII century
18th century painting is characterized by many interesting features, during this period the beginning of new directions in the mentioned art form was laid. Venetian landscape painters, for example, worked in such directions as landscape landscape (another name is leading) and architectural (or urban). And the leading landscape, in turn, was divided into accurate and fantastic. A prominent representative of the fantastic vedata is Francesco Guardi. Even modern landscape artists can envy his imagination and technique.
Francesco Guardi
Without exception, all of his works are distinguished by impeccably accurate perspective and wonderful rendition of colors. Landscapes have a certain magical appeal; it is simply impossible to take your eyes off them.
His most delightful works include the paintings “The Doge’s Festive Ship “Bucintoro”, “Gondola in the Lagoon”, “Venetian Courtyard” and “Rio dei Mendicanti”. All his paintings depict views of Venice.
William Turner
This artist is a representative of romanticism.
A distinctive feature of his paintings is the use of many shades of yellow. It was the yellow palette that became the main one in his works. The master explained this by the fact that he associated such shades with the sun and the purity that he wanted to see in his paintings.
Turner's most beautiful and mesmerizing work is the "Garden of the Hesperides" - a fantastic landscape.
Ivan Aivazovsky and Ivan Shishkin
These two men are truly the greatest and most famous landscape painters in Russia. The first - Ivan Konstantinovich Aivazovsky - depicted the majestic sea in his paintings. A riot of elements, rising waves, splashes of foam crashing against the side of a tilting ship, or a quiet, serene surface illuminated by the setting sun - seascapes delight and amaze with their naturalness and beauty. By the way, such landscape painters are called marine painters. The second, Ivan Ivanovich Shishkin, loved to depict the forest.
Both Shishkin and Aivazovsky were landscape artists of the 19th century. Let us dwell on the biography of these individuals in more detail.
In 1817, one of the most famous marine painters in the world, Ivan Aivazovsky, was born.
He was born into a wealthy family, his father was an Armenian businessman. It is not surprising that the future maestro had a weakness for the sea element. After all, the birthplace of this artist was Feodosia, a beautiful port city.
In 1839, Ivan graduated from where he studied for six years. The artist’s style was greatly influenced by the work of the French marine painters C. Vernet and C. Lorrain, who painted their canvases according to the canons of Baroque-classicism. The most famous work of I.K. Aivazovsky is considered to be the painting “The Ninth Wave”, completed in 1850.
Except seascapes, great artist worked on depicting battle scenes (a striking example is the painting “The Battle of Chesme”, 1848), and also devoted many of his canvases to themes of Armenian history (“J.G. Byron’s visit to the Mekhitarist monastery near Venice”, 1880).
Aivazovsky was lucky to achieve incredible fame during his lifetime. Many landscape painters who became famous in the future admired his work and took their cue from him. The great creator passed away in 1990.
Shishkin Ivan Ivanovich was born in January 1832 in the city of Elabug. The family in which Vanya was brought up was not very wealthy (his father was a poor merchant). In 1852, Shishkin began his studies at the Moscow School of Painting, Sculpture and Architecture, from which he would graduate four years later, in 1856. Even Ivan Ivanovich’s earliest works are distinguished by their extraordinary beauty and unsurpassed technique. Therefore, it is not surprising that in 1865 I. I. Shishkin was given the title of academician for the canvas “View in the vicinity of Dusseldorf”. And after eight years he received the title of professor.
Like many others, he painted from life, spending a long time in nature, in places where no one could disturb him.
The most famous paintings of the great painter are “Forest Wilderness” and “Morning in pine forest", written in 1872, and an earlier painting "Noon. In the vicinity of Moscow" (1869)
The life of a talented man was interrupted in the spring of 1898.
Many Russian landscape artists use a large number of details and colorful color rendering when painting their canvases. The same can be said about these two representatives of Russian painting.
Alexey Savrasov
Alexey Kondratyevich Savrasov is a world-famous landscape artist. It is he who is considered the founder of Russian lyrical landscape.
This outstanding man was born in Moscow in 1830. In 1844, Alexey began his studies at the Moscow School of Painting and Sculpture. Already from his youth, he was distinguished by his special talent and ability to depict landscapes. However, despite this, due to family circumstances the young man was forced to interrupt his studies and resume it only four years later.
Savrasov’s most famous and beloved work is, of course, the painting “The Rooks Have Arrived.” It was presented at the Traveling Exhibition in 1971. No less interesting are the paintings by I. K. Savrasov “Rye”, “Thaw”, “Winter”, “Country Road”, “Rainbow”, “Elk Island”. However, according to critics, none of the artist’s works compared with his masterpiece “The Rooks Have Arrived.”
Despite the fact that Savrasov painted many beautiful canvases and was already known as the author of wonderful paintings, he is soon forgotten for a long time. And in 1897 he died in poverty, driven to despair by family troubles, the death of children and alcohol addiction.
But great landscape painters cannot be forgotten. They live in their paintings, the beauty of which is breathtaking, and which we can still admire to this day.
Second half of the 19th century
This period is characterized by the prevalence in Russian painting of such a direction as everyday landscape. Many Russian landscape artists worked in this vein, including Vladimir Egorovich Makovsky. No less famous masters of those times are Arseny Meshchersky, as well as the previously described Aivazovsky and Shishkin, whose work occurred in the mid-second half of the 19th century.
Arseny Meshchersky
This one was born famous artist in 1834 in the Tver province. He received his education at the Imperial Academy of Arts, where he studied for three years. The main themes of the author’s paintings were forests and the Artist loved to depict in his paintings the magnificent views of the Crimea and the Caucasus with their majestic mountains. In 1876 he received the title of professor of landscape painting.
His most successful and famous paintings can be considered the paintings “Winter. Icebreaker", "View of Geneva", "Storm in the Alps", "At the Forest Lake", "Southern Landscape", "View in Crimea".
In addition, Meshchersky also conveyed the beauty of Switzerland. In this country, he gained experience for some time from the master of landscape painting Kalam.
The master was also fond of sepia and engraving. He also created many wonderful works using these techniques.
Many paintings by the artist in question were shown at exhibitions both in Russia and in other countries of the world. Therefore, many people managed to appreciate the talent and originality of this creative person. The paintings of Arseny Meshchersky continue to delight many people who are interested in art to this day.
Makovsky Vladimir Egorovich
Makovsky V. E. was born in Moscow in 1846. His father was a famous artist. Vladimir decided to follow in his father’s footsteps and received art education at the Moscow School of Painting, Sculpture and Architecture, after which he left for St. Petersburg.
His most successful paintings were “Waiting. At the Jail", "Bank Collapse", "Explanation", "The Lodging House" and "Spring Bacchanalia". The works mainly depict ordinary people and everyday scenes.
In addition to everyday landscapes, of which he was a master, Makovsky also painted portraits and various illustrations.
Lev Kamenev (1833 – 1886) “Landscape with a Hut”
Landscape, as an independent genre of painting, established itself in Russia around the middle of the 18th century. And before this period, the landscape was the background for depicting icon painting compositions or part of book illustrations.
A lot has been written about the Russian landscape of the 19th century, and it was written by such, without exaggeration, great experts in the field of painting that I essentially have nothing to add.
The pioneers of Russian landscape painting are Semyon Shchedrin, Fyodor Alekseev and Fyodor Matveev. All these artists studied painting in Europe, which left a certain imprint on their further work.
Shchedrin (1749 – 1804) gained fame as the author of works depicting imperial country parks. Alekseev (1753 - 1824) was nicknamed the Russian Canaletto for his landscapes depicting architectural monuments of St. Petersburg, Gatchina and Pavlovsk, Moscow. Matveev (1758 - 1826) worked in Italy most of his life and wrote in the spirit of his teacher Hackert. The works of this talented Italian artist were also imitated by M.M. Ivanov (1748 – 1828).
Experts note two stages in the development of Russian landscape painting of the 19th century, which are not organically connected with each other, but are clearly distinguishable. These two stages:
- realistic;
- romantic.
The border between these directions was clearly formed by the mid-20s of the 19th century. By the middle of the eighteenth century, Russian painting began to free itself from the rationalism of classical painting of the 18th century. AND great importance Russian romanticism, as a separate phenomenon in Russian painting, has a role in these changes.
The Russian romantic landscape developed in three directions:
- an urban landscape based on works from nature;
- study of Russian nature based on “Italian soil”;
- Russian national landscape.
And now I invite you to the gallery of works by Russian artists of the 19th century who painted landscapes. I only took one piece from each artist - otherwise this gallery was simply endless.
If you have a desire, you can read about the work of each artist (and, accordingly, remember the artist’s works) on this site.
Russian landscapes of the 19th centuryVladimir Muravyov (1861 – 1940), “Blue Forest”
Vladimir Orlovsky (1842 – 1914), “Summer Day”
Pyotr Sukhodolsky (1835 – 1903), “Trinity Day”
Ivan Shishkin (1832 – 1898), “Rye”
Efim Volkov (1844 – 1920), “Forest Lake”
Nikolai Astudin (1847 – 1925), “Mountain Road”
Nikolai Sergeev (1855 – 1919), “Summer Pond”
Konstantin Kryzhitsky1 (1858-1911), “Zvenigorod”
Alexey Pisemsky (1859 – 1913), “Forest River”
Joseph Krachkovsky (1854 – 1914), “Wisteria”
Isaac Levitan (1860 – 1900), “Birch Grove”
Vasily Polenov (1844-1927), “Old Mill”
Mikhail Klodt (1832 – 1902), “Oak Grove”
Apollinary Vasnetsov (1856 – 1933), “Okhtyrka. View of the estate"
Landscape is one of the genres of painting. Russian landscape is a very important genre both for Russian art and for Russian culture in general. The landscape depicts nature. Natural landscapes, natural spaces. The landscape reflects human perception of nature.
Russian landscape in the 17th century
Saint John the Baptist in the desert
The first bricks for the development of landscape painting were laid by icons, the background of which was, in fact, landscapes. In the 17th century, masters began to move away from icon painting canons and try something new. It was from this time that painting ceased to “stand still” and began to develop.
Russian landscape in the 18th century
M.I. Makheev
In the 18th century, when Russian art joined European artistic system, landscape in Russian art becomes an independent genre. But at this time it is aimed at recording the reality that surrounded the person. There were no cameras yet, but the desire to capture significant events or works of architecture was already strong. The first landscapes, as an independent genre in art, were topographical views of St. Petersburg, Moscow, palaces and parks.
F.Ya. Alekseev. View of the Resurrection and Nikolsky Gates and Neglinny Bridge from Tverskaya Street in Moscow
F.Ya. Alekseev
S.F. Shchedrin
Russian landscape at the beginning of the 19th century
F.M. Matveev. Italian landscape
At the beginning of the 19th century, Russian artists painted mainly Italy. Italy was considered the birthplace of art and creativity. Artists study abroad and imitate the style of foreign masters. Russian nature is considered inexpressive and boring, so even native Russian artists paint foreign nature, giving preference to it as more interesting and artistic. Foreigners are warmly welcomed in Russia: painters, dance and fencing teachers. Russian high society speaks French. Russian young ladies are taught by French governesses. Anything foreign is considered a sign high society, a sign of education and good manners, and manifestations of Russian national culture- a sign of bad taste and rudeness. In the famous opera P.I. Tchaikovsky, written based on the immortal story by A.S. In Pushkin’s “The Queen of Spades,” the French governess scolds Princess Lisa for dancing “in Russian,” which was shameful for a lady from high society.
S.F. Shchedrin. Small harbor in Sorrento with views of the islands of Ischia and Procido
I.G. Davydov. Suburbs of Rome
S.F. Shchedrin. Grotto Matromanio on the island of Capri
Russian landscape in the mid-19th century
In the mid-19th century, the Russian intelligentsia and artists in particular began to think about the undervaluation of Russian culture. Two opposing trends appear in Russian society: Westerners and Slavophiles. Westerners believed that Russia was part of global history and excluded its national identity, while Slavophiles believed that Russia was a special country, with a rich culture and history. Slavophiles believed that the path of development of Russia should be radically different from the European one, that Russian culture and Russian nature are worthy of being described in literature, depicted on canvas, and captured in musical works.
Below will be presented paintings that depict landscapes of the Russian land. For ease of perception, the paintings will be listed not in chronological order and not by author, but by the seasons to which the paintings can be attributed.
Spring in the Russian landscape
Savrasov. The Rooks Have Arrived
Russian landscape. Savrasov “The rooks have arrived”
Spring is usually associated with elation, anticipation of joy, sun and warmth. But in Savrasov’s painting “The Rooks Have Arrived” we see neither the sun nor the warmth, and even the temple domes are painted with gray colors, as if they had not yet awakened.
Spring in Russia often begins with timid steps. The snow is melting, and the sky and trees are reflected in the puddles. Rooks are busy with their rook business - building nests. The gnarled and bare trunks of birch trees become thinner, rising towards the sky, as if they are reaching out to it, gradually coming to life. The sky, which at first glance is gray, is filled with shades of blue, and the edges of the clouds are slightly lighter, as if the rays of the sun are peeking through.
At first glance, a painting can make a gloomy impression, and not everyone can feel the joy and triumph that the artist put into it. This painting was first presented at the first exhibition of the Wanderers Association in 1871. And in the catalog of this exhibition it was called “The Rooks have Arrived!” there was an exclamation point at the end of the title. And this joy, which is only expected, which is not yet in the picture, was expressed precisely by this exclamation mark. Savrasov, even in the title itself, tried to convey the elusive joy of waiting for spring. Over time, the exclamation mark was lost and the picture began to be called simply “The Rooks Have Arrived.”
It is this picture that begins the establishment of landscape painting as an equal, and in some periods, the leading genre of Russian painting.
I. Levitan. March
Russian landscape. I. Levitan. March
March is a very dangerous month - on the one hand the sun seems to be shining, but on the other it can be very cold and dank.
This spring is an air filled with light. Here the joy of the arrival of spring is already more clearly felt. It doesn’t seem to be visible yet, it’s only in the title of the picture. But, if you look more closely, you can feel the warmth of the wall, warmed by the sun.
Blue, rich, ringing shadows not only from trees and their trunks, but also shadows in snow potholes along which a person has walked
M. Claude. On the arable land
Russian landscape. M. Claude. On the arable land
In the painting by Michael Claude, a person (unlike a modern city dweller) lives in the same rhythm with nature. Nature sets the rhythm of life for a person who lives on earth. In the spring a person plows this land, in the fall he harvests the crop. The foal in the picture is like an extension of life.
Russian nature is characterized by flatness - you rarely see mountains or hills here. And Gogol surprisingly accurately characterized this lack of tension and pathos as “the continuity of Russian nature.” It was this “continuity” that Russian landscape painters of the 19th century sought to convey in their paintings.
Summer in the Russian landscape
Palenov. Moscow courtyard
Russian landscape. Palenov “Moscow courtyard”
One of the most charming paintings in Russian painting. Business card Polenova. This is the cityscape in which we see ordinary life Moscow boys and girls. Even the artist himself does not always understand the significance of his work. Here we see a city estate and a barn already collapsing, children, a horse, and above all this we see a church. Here are the peasantry and the nobility and children and work and the Temple - all the signs of Russian life. The whole picture is permeated with air, sun and light - that’s why it’s so attractive and so pleasant to look at. The painting “Moscow Courtyard” warms the soul with its warmth and simplicity.
Residence of the American Ambassador Spas House
Today, on Spaso-Peskovsky Lane, on the site of the courtyard depicted by Palenov, there is the residence of the American ambassador, Spas House.
I. Shishkin. Rye
Russian landscape. I. Shishkin. Rye
The life of Russian people in the 19th century was closely connected with the rhythms of natural life: sowing grain, cultivating, harvesting. Russian nature has breadth and space. Artists try to convey this in their paintings.
Shishkin is called the “king of the forest” because he has the most forest landscapes. And here we see a flat landscape with a sown rye field. At the very edge of the picture a road begins and winds through the fields. In the depths of the road, among the tall rye, we see peasant heads in red scarves. In the background are depicted mighty pines that stride like giants across this field; on some we see signs of withering. This is the life of nature - old trees fade, new ones appear. The sky is very clear overhead, and clouds begin to gather closer to the horizon. A few minutes will pass and the clouds will move closer to the leading edge and rain will begin to fall. Birds that fly low above the ground remind us of this - the air and atmosphere bring them there.
Initially, Shishkin wanted to call this painting “Motherland”. While painting this picture, Shishkin thought about the image of the Russian land. But then he moved away from this name so as not to create unnecessary pathos. Ivan Ivanovich Shishkin loved simplicity and naturalness, believing that simplicity is the truth of life.
Autumn in the Russian landscape
Efimov-Volkov. October
Russian landscape. Efimov-Volkov. "October"
“There is in the primordial autumn...”
Fedor Tyutchev
There is in the initial autumn
A short but wonderful time -
The whole day is like crystal,
And the evenings are radiant...
Where the cheerful sickle walked and the ear fell,
Now everything is empty - space is everywhere, -
Only a web of thin hair
Glistens on the idle furrow.
The air is empty, the birds are no longer heard,
But the first winter storms are still far away -
And pure and warm azure flows
To the resting field...
Efimov-Volkov’s painting “October” conveys the lyrics of autumn. In the foreground of the picture is a young birch grove painted with great love. Fragile trunks of birch trees and brown earth, covered with autumn leaves.
L. Kamenev. Winter road
Russian landscape. L. Kamenev . "Winter road"
In the painting, the artist depicted an endless expanse of snow, a winter road along which a horse is dragging wood with difficulty. A village and a forest can be seen in the distance. No sun, no moon, just dull twilight. In the image of L. Kamenev, the road is covered with snow, few people drive along it, it leads to a village covered with snow, where there is no light in any window. The picture creates a melancholy and sad mood.
I. Shishkin. In the wild north
M.Yu.Lermontov
"In the Wild North"
It's lonely in the wild north
Naked top of the pine,
And dozes, swaying, and snow falls
She is dressed like a robe.
And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a flammable cliff
A beautiful palm tree is growing.
I. Shishkin. "In the Wild North"
Shishkin’s painting is an artistic embodiment of the motif of loneliness, sung by Lermontov in the poetic work “Pine”.
Elena Lebedeva, website graphic designer, computer graphics teacher.
Taught a lesson on this article in high school. Children guessed the authors of poems and the names of paintings. Judging by their answers, schoolchildren know literature much better than art)))