Russian portrait painters of the 18th and 19th centuries. Famous Russian artists. Early portrait art

04.03.2020

Nikolai Nikolaevich Ge (1831-1894)

Russian artist. Born in Voronezh on February 15 (27), 1831 in the family of a landowner. He studied at the mathematical departments of Kyiv and St. Petersburg universities (1847-1850), then entered the Academy of Arts, from which he graduated in 1857. He was greatly influenced by K.P. Bryullov and A.A. Ivanova. He lived in Rome and Florence (1857-1869), in St. Petersburg, and from 1876 - on the Ivanovsky farm in the Chernigov province. He was one of the founders of the Association of Itinerants (1870). I did a lot of portrait painting. He began working on portraits while still studying at the Academy of Arts. Behind long years creativity he wrote many of his contemporaries. These were mostly leading cultural figures. M.E. Saltykov - Shchedrin, M.M. Antokolsky, L.N. Tolstoy and others. Ge owns one of the best portraits of A.I. Herzen (1867, Tretyakov Gallery) - the image of a Russian revolutionary, an ardent fighter against autocracy and serfdom. But the transfer external resemblance The artist’s intention is not at all limited. Herzen’s face, as if snatched from the twilight, reflected his thoughts and the unshakable determination of a fighter for social justice. Ge captured the spiritual historical figure, embodied the experience of her entire life, full of struggle and anxiety.

His works differ from Kramskoy’s in their emotionality and drama. Portrait of the historian N.I. Kostomarov (1870, Tretyakov Gallery) is written extraordinarily beautifully, temperamentally, freshly, freely. The self-portrait was painted shortly before his death (1892-1893, KMRI), the master’s face is illuminated with creative inspiration. Portrait of N.I. Petrunkevich (1893) was painted by the artist at the end of his life. The girl is depicted almost in full height at the open window. She is immersed in reading. Her face in profile, the tilt of her head, and her posture express a state of thoughtfulness. Like never before, Ge devoted great attention background. Color harmony testifies to the artist’s unspent powers.

Since the 1880s, Ge became a close friend and follower of L.N. Tolstoy. In an effort to emphasize the human content of the gospel sermon, Ge moves on to an increasingly freer style of writing, sharpening color and light contrasts to the limit. The master painted wonderful portraits full of inner spirituality, including the portrait of L.N. Tolstoy at his desk (1884). In the image of N.I. Petrunkevich against the background of a window open to the garden (1893; both portraits in the Tretyakov Gallery). Ge died on the Ivanovsky farm (Chernigov province) June 1 (13), 1894.

Vasily Grigorievich Perov (1834-1882)

Born in Tobolsk on December 21 or 23, 1833 (January 2 or 4, 1834). He was the illegitimate son of the local prosecutor, Baron G.K. Kridener, the surname “Perov” was given to the future artist in the form of a nickname by his literacy teacher, an ordinary sexton. He studied at the Arzamas School of Painting (1846-1849) and the Moscow School of Painting, Sculpture and Architecture (1853-1861), where one of his mentors was S.K. Zaryanko. He was especially influenced by P.A. Fedotov, a master of magazine satirical graphics, and from foreign masters- W. Hogarth and the genre artists of the Dusseldorf school. Lived in Moscow. He was one of the founding members of the Association of Itinerants (1870).

The best portrait works of the master date back to the turn of the 60-70s: F.M. Dostoevsky (1872, Tretyakov Gallery) A.N. Ostrovsky (1871, Tretyakov Gallery), I.S. Turgenev (1872, Russian Museum). Dostoevsky is especially expressive, completely lost in painful thoughts, nervously clasping his hands on his knee, an image of the highest intellect and spirituality. Sincere genre romance turns into symbolism, permeated with a mournful sense of frailty. Portraits by the master (V.I. Dal, A.N. Maikov, M.P. Pogodin, all portraits - 1872), reaching a spiritual intensity unprecedented for Russian painting. No wonder the portrait of F.M. Dostoevsky (1872) is rightfully considered the best in the iconography of the great writer.

IN last decades Throughout his life, the artist reveals the extraordinary talent of a writer and essayist (stories Aunt Marya, 1875; Under the Cross, 1881; and others; the latest edition is Stories of the Artist, M., 1960). In 1871-1882, Perov taught at the Moscow School of Painting, Sculpture and Architecture, where his students included N.A. Kasatkin, S.A. Korovin, M.V. Nesterov, A.P. Ryabushkin. Perov died in the village of Kuzminki (in those years - near Moscow) on May 29 (June 10), 1882.

Nikolai Alexandrovich Yaroshenko (1846-1898)

Born in Poltava on December 1 (13), 1846 in a military family. He graduated from the Mikhailovsky Artillery Academy in St. Petersburg (1870), served in the Arsenal, and retired in 1892 with the rank of major general. Studied painting at the Drawing School of the Society for the Encouragement of Arts under I.N. Kramskoy and at the Academy of Arts (1867-1874). Traveled a lot - in the countries of Western Europe, the Near and Middle East, the Urals, Volga, Caucasus and Crimea. He was a member (since 1876) and one of the leaders of the Association of Itinerants. Lived mainly in St. Petersburg and Kislovodsk.

His works can be called portraits - such as "Stoker" and "Prisoner" (1878, Tretyakov Gallery). "Stoker" is the first image of a worker in Russian painting. “The Prisoner” is a relevant image during the years of the turbulent populist revolutionary movement. “Student” (1880, Russian Russian Museum) a young girl with books walks along the wet St. Petersburg pavement. In this image, the entire era of women’s struggle for independent spiritual life found expression.

Yaroshenko was a military engineer, highly educated with strong character. The Peredvizhniki artist served revolutionary and democratic ideals with his art. Master social genre and a portrait in the spirit of the “Wanderers”. The island has made a name for itself with its expressive pictorial compositions, appealing to sympathy for the world of socially outcasts. A special kind of anxious, “conscientious” expression gives life to the best portraits by Yaroshenko (P.A. Strepetova, 1884, ibid.; G.I. Uspensky, 1884, Art Gallery, Ekaterinburg; N.N. Ge, 1890, Russian Museum, St. Petersburg). Yaroshenko died in Kislovodsk on June 25 (July 7), 1898.

Ivan Nikolaevich Kramskoy (1837-1887)

In 1857 he ended up in St. Petersburg and worked in a photo studio. In the autumn of the same year he entered the Academy of Arts.

Predominant area artistic achievements remained a portrait for Kramskoy. Kramskoy in the portrait genre is occupied by an exalted, highly spiritual personality. He created a whole gallery of images of major figures of Russian culture - portraits of Saltykov - Shchedrin (1879, Tretyakov Gallery), N.A. Nekrasova (1877, Tretyakov Gallery), L.N. Tolstoy (1873, Tretyakov Gallery), P.M. Tretyakov (1876, Tretyakov Gallery), I.I. Shishkina (1880, Russian Museum), D.V. Grigorovich (1876, Tretyakov Gallery). portrait painting artistic

Kramskoy’s artistic style is characterized by a certain protocol dryness, monotony of compositional forms and schemes, since the portrait shows the features of working as a retoucher in his youth. The portrait of A.G. is different. Litovchenko (1878, Tretyakov Gallery) with its picturesque richness and beauty of brown and olive tones. Collective works by peasants were also created: “Forester” (1874, Tretyakov Gallery), “Mina Moiseev” (1882, Russian Museum), “Peasant with a Bridle” (1883, KMRI). Kramskoy repeatedly turned to a form of painting in which two genres came into contact - portraiture and everyday life. For example, works of the 80s: “Unknown” (1883, Tretyakov Gallery), “Inconsolable Grief” (1884, Tretyakov Gallery). One of the peaks of Kramskoy’s creativity is the portrait of Nekrasov, Self-Portrait (1867, Tretyakov Gallery) and the portrait of the agronomist Vyunnikov (1868, Museum of the BSSR).

In 1863-1868, Kramskoy taught at the Drawing School of the Society for the Encouragement of Artists. In 1870, Kramskoy became one of the founders of the TPHV. When painting a portrait, Kramskoy more often resorted to graphic techniques (using wort, whitewash and pencil). This is how portraits of artists A.I. were made. Morozova (1868), G.G. Myasoedova (1861) - State Russian Museum. Kramskoy is an artist of great creative temperament, a deep and original thinker. He always fought for advanced realistic art, for its ideological and democratic content. He worked fruitfully as a teacher (at the Drawing School of the Society for the Encouragement of the Arts, 1863-1868). Kramskoy died in St. Petersburg on March 24 (April 5), 1887.

Ilya Efimovich Repin (1844-1930)

Born in Chuguev in the Kharkov province in the family of a military settler. He received his initial artistic training at the school of typographers and from local artists I.M. Bunakova and L.I. Persanova. In 1863 he came to St. Petersburg and studied at the Drawing School of the Society for the Encouragement of Artists under R.K. Zhukovsky and I.N. Kramskoy, then was admitted to the Academy of Arts in 1864.

Repin is one of the best portrait painters of the era. A whole gallery of images of his contemporaries was created by him. With what skill and strength they are captured on his canvases. In Repin’s portraits everything is thought out down to the last fold, every feature is expressive. Repin had the greatest ability of an artist to penetrate into the very essence of psychological characteristics, continuing the traditions of Perov, Kramskoy, and Ge, he left images of famous writers, composers, and actors who glorified Russian culture. In each individual case, he found different compositional and coloristic solutions with which he could most expressively reveal the image of the person depicted in the portrait. How sharply the surgeon Pirogov squints. The mournfully beautiful eyes of the artist Strepetova (1882, Tretyakov Gallery) dart about, and how the sharp, intelligent face of the artist Myasoedov, the thoughtful Tretyakov, is painted. He wrote “Protodeacon” (church minister 1877, Russian Russian Museum) with merciless truth. Written with warmth by the sick M.P. Mussorgsky (1881, Tretyakov Gallery), a few days before the composer's death. The portraits of the young Gorky, the wise Stasov (1883, State Russian Museum) and others are soulfully executed. “Autumn Bouquet” (1892, Tretyakov Gallery) is a portrait of Vera’s daughter, how the face of the artist’s daughter shines sunnyly in the warm shadow of a straw hat. With great love, Repin conveyed a face that was attractive with its youth, cheerfulness, and health. The expanses of fields, still blooming, but touched by the yellowness of the grass, green trees, and the transparency of the air bring an invigorating mood to the work.

The portrait was not only the leading genre, but also the basis of Repin’s work in general. When working on large canvases, he systematically turned to portrait sketches to determine the appearance and characteristics of the characters. This is the Hunchback portrait associated with the painting “Religious procession in the Kursk province” (1880-1883, Tretyakov Gallery). From the hunchback, Repin persistently emphasized the prosaic nature, the squalor of the hunchback’s clothes and his entire appearance, the ordinariness of the figure more than its tragedy and loneliness.

The significance of Repin in the history of Russian Art is enormous. His portraits especially reflected his closeness to the great masters of the past. In portraits Repin reached the highest point of his pictorial power.

Repin's portraits are surprisingly lyrically attractive. He creates poignant folk types, numerous perfect images of cultural figures, graceful social portraits(Baroness V.I. Ikskul von Hildebrandt, 1889). The images of the artist’s relatives are especially colorful and sincere: a whole series of paintings with Repin’s wife N.I. Nordman-Severovoy. His purely graphic portraits, executed in graphite pencil or charcoal, are also masterful (E. Duse, 1891; Princess M.K. Tenisheva, 1898; V.A. Serov, 1901). Repin also proved himself to be an outstanding teacher: he was a professor-head of the workshop (1894-1907) and rector (1898-1899) of the Academy of Arts, and at the same time taught at Tenisheva’s school-workshop.

After October revolution In 1917, the artist found himself separated from Russia when Finland gained independence; he never moved to his homeland, although he maintained contacts with friends living there (in particular, with K.I. Chukovsky). Repin died on September 29, 1930. In 1937, Chukovsky published a collection of his memoirs and articles on art (Dalokoe Nearby), which was then republished several times.

Valentin Aleksandrovich Serov (1865-1911)

Born in St. Petersburg in the family of composer A.N. Serova. Since childhood, V.A. Serov was surrounded by art. The teacher was Repin. Serov worked near Repin from early childhood and very soon discovered talent and independence. Repin sends him to the Academy of Arts to P.P. Chistyakov. The young artist won respect, and his talent aroused admiration. Serov wrote "Girl with Peaches". Serov's first major work. Despite its small size, the picture seems very simple. It is written in pink and gold tones. He received an award from the Moscow Society of Art Lovers for this painting. The next year, Serov painted a portrait of his sister Maria Simonovich and subsequently called it “Girl Illuminated by the Sun” (1888). The girl sits in the shade, and the rays of the morning sun illuminate the clearing in the background.

Serov became a fashionable portrait painter. They posed in front of him famous writers, aristocrats, artists, artists, entrepreneurs and even kings. In adulthood, Serov continued to paint relatives and friends: Mamontov, Levitan, Ostroukhov, Chaliapin, Stanislavsky, Moskvin, Lensky. Serov carried out the orders of the crowned - Alexandra III and Nicholas II. The Emperor is depicted in a simple jacket of the Preobrazhensky Regiment; this painting (destroyed in 1917, but preserved in the author's replica of the same year; Tretyakov Gallery) is often considered the best portrait of the last Romanov. The master painted both titled officials and businessmen. Serov worked on each portrait to the point of exhaustion, with complete dedication, as if the work begun had been his last job. The impression of spontaneous, light artistry was enhanced in Serov’s images because he worked freely in a wide variety of techniques (watercolor, gouache, pastel), minimizing or even eliminating the difference between sketch and painting. An equal form of creativity was constantly with the master and black and white drawing(the intrinsic value of the latter has been entrenched in his work since 1895, when Serov performed a series of sketches of animals, working on illustrating the fables of I.A. Krylov).

At the turn of the 19th-20th centuries. Serov becomes perhaps the first portrait painter in Russia, if he is inferior to anyone in this regard, then only to Repin.

It seems that he is best at creating intimate, lyrical images of women and children (N.Ya. Derviz with a child, 1888-1889; Mika Morozov, 1901; both portraits - Tretyakov Gallery) or images of creative people (A. Masini, 1890; K.A. Korovin, 1891; F. Tamagno, 1891; all in the same place), where the colorful impression and free brushwork reflect the state of mind of the model. But even more official, secular portraits organically combine subtle artistry with the no less subtle gift of an artist-psychologist. Among the masterpieces of the “secular” Serov is Count F.F. Sumarokov-Elston (later Prince Yusupov), 1903, Russian Museum; G.L. Girshman, 1907; IN. Girshman, 1911; I.A. Morozov, 1910; Princess O.K. Orlova, 1911; everything is there).

In the portraits of the master in these years, Art Nouveau completely dominated with its cult of a strong and flexible line, monumental, catchy gesture and pose (M. Gorky, 1904, A.M. Gorky Museum, Moscow; M.N. Ermolova, 1905; F.I. . Chaliapin, charcoal, chalk, 1905; both portraits - in the Tretyakov Gallery; Ida Rubinstein, tempera, charcoal, 1910, Russian Museum). Serov left a grateful memory of himself as a teacher (in 1897-1909 he taught at the Moscow School of Painting, Sculpture and Architecture, where his students included K.F. Yuon, N.N. Sapunov, P.V. Kuznetsov, M. S. Saryan, K.S. Petrov-Vodkin). Serov died in Moscow on November 22 (December 5), 1911.

Introduction

I. Russian portrait painters of the first half of the 19th century

1.1 Orest Adamovich Kiprensky (1782-1836)

1.2 Vasily Andreevich Tropinin (1776-1857)

1.3 Alexey Gavrilovich Venetsianov (1780-1847)

1.4 Karl Pavlovich Bryullov (1799-1852)

II. Association of Traveling Art Exhibitions

Chapter III. Russian portrait painters second half of the 19th century century

3.1 Nikolai Nikolaevich Ge (1831-1894)

3.2 Vasily Grigorievich Perov (1834-1882)

3.3 Nikolai Alexandrovich Yaroshenko (1846-1898)

3.4 Ivan Nikolaevich Kramskoy (1837-1887)

3.5 Ilya Efimovich Repin (1844-1930)

3.6 Valentin Aleksandrovich Serov (1865-1911)

Chapter IV. The art of portraiture

Conclusion

Bibliography

Introduction

The purpose of this work is to talk about the importance of the portrait as one of the main genres of art, about its role in the culture and art of that time, to get acquainted with the main works of artists, to learn about Russian portrait painters of the 19th century, about their life and work.

In this work we will look at the art of portraiture in the 19th century:

The greatest masters of Russian art of the 19th century.

Association of Traveling Art Exhibitions.

What is a portrait?

The history of the appearance of the portrait.

First half of the 19th century - the time of the formation of a system of genres in Russian painting. In painting of the second half of the 19th century. the realistic direction prevailed. The character of Russian realism was determined by the young painters who left the Academy of Arts in 1863, who rebelled against the classical style and historical and mythological themes that were being implanted at the academy. These artists organized in 1870

Partnership traveling exhibitions, whose task was to provide members of the partnership with the opportunity to exhibit their works. Thanks to his activities, works of art became available to a wider circle of people. Pavel Mikhailovich Tretyakov (1832–1898) since 1856 collected works by Russian artists, mainly the Peredvizhniki, and in 1892 donated his collection of paintings along with the collection of his brother S.M. Tretyakov to Moscow. In the genre of portraits, the Wanderers created a gallery of images of outstanding cultural figures of their time: a portrait of Fyodor Dostoevsky (1872) by Vasily Perov (1833–1882), a portrait of Nikolai Nekrasov (1877–1878) by Ivan Kramskoy (1837–1887), a portrait of Modest Mussorgsky (1881) , made by Ilya Repin (1844–1930), a portrait of Leo Tolstoy (1884) by Nikolai Ge (1831–1894) and a number of others. Being in opposition to the Academy and its artistic policy, the Wanderers turned to the so-called. “low” topics; images of peasants and workers appear in their works.

The increase and expansion of artistic understanding and needs is reflected in the emergence of a variety of art societies, schools, a number of private galleries (Tretyakov Gallery) and museums not only in capitals, but also in the provinces, in an introduction to school drawing education. All this, in connection with the appearance of a number of brilliant works by Russian artists, shows that art took root on Russian soil and became national. The new Russian national art was sharply different in that it clearly and strongly reflected the main trends of Russian social life.

Russian portrait painters of the first half of the 19th century.

1.1 Orest Adamovich Kiprensky (1782-1836)

Born on the Nezhinskaya manor (near Koporye, now in the Leningrad region) on March 13 (24), 1782. He was the illegitimate son of the landowner A.S. Dyakonov, registered in the family of his serf Adam Schwalbe. Having received his freedom, he studied at the St. Petersburg Academy of Arts (1788–1803) with G.I. Ugryumov and others. He lived in Moscow (1809), Tver (1811), St. Petersburg (from 1812), and in 1816–1822 and from 1828 - in Rome and Naples.

The first portrait - the adoptive father of A.K. Schwalbe (1804, Russian Museum, St. Petersburg) - stands out for its emotional coloring. Over the years, Kiprensky’s skill, manifested in the ability to create not only social and spiritual types (which predominated in Russian art of the Enlightenment), but also unique individual images, has been improved. It is natural that it is customary to begin the history of romanticism in Russian fine art with Kiprensky’s paintings.

The Russian artist, an outstanding master of Russian fine art of romanticism, is known as a wonderful portrait painter. Kiprensky's portraits are imbued with special cordiality, special simplicity, they are filled with his lofty and poetic love for man. In Kiprensky's portraits the features of his era are always noticeable. This is always invariably inherent in each of his portraits - and in the romantic image of young V.A. Zhukovsky, and the wise E.P. Rostopchin (1809), portraits: D.N. Khvostov (1814 Tretyakov Gallery), the boy Chelishchev (1809 Tretyakov Gallery), E.V. Davydov (1809 State Russian Museum).

An invaluable part of Kiprensky’s work are graphic portraits, made mainly in pencil with coloring in pastels, watercolors, and colored pencils. He portrays General E.I. Chaplitsa (Tretyakov Gallery), P.A. Venison (GTG). In these images we see Russia, the Russian intelligentsia from the Patriotic War of 1812 to the December uprising.

Kiprensky's portraits appear before us as complex, thoughtful, and changeable in mood. Discovering various facets of human character and the spiritual world of man, Kiprensky always used different possibilities painting in his early romantic portraits. His masterpieces, such as one of the best lifetime portraits of Pushkin (1827 Tretyakov Gallery), a portrait of Avdulina (1822 State Russian Museum). The sadness and thoughtfulness of Kiprensky’s characters is sublime and lyrical.

"Favorite of light-winged fashion,

Although not British, not French,

You created again, dear wizard,

Me, the pet of pure muses. –

And I laugh at my grave

Left forever from mortal bonds.

I see myself as in a mirror,

But this mirror flatters me.

It says that I will not humiliate

The passions of important aonides.

So to Rome, Dresden, Paris

From now on my appearance will be known, - 1

Pushkin wrote to Kiprensky in gratitude for his portrait. Pushkin treasured his portrait and this portrait hung in his office.

A special section consists of Kiprensky’s self-portraits (with tassels behind the ear, ca. 1808, Tretyakov Gallery; etc.), imbued with the pathos of creativity. He also owns the soulful images of Russian poets: K.N. Batyushkov (1815, drawing, Museum of the Institute of Russian Literature of the Russian Academy of Sciences, St. Petersburg; V.A. Zhukovsky (1816). The master was also a virtuoso graphic artist; working mainly with an Italian pencil, he created a number of remarkable everyday characters (like the Blind Musician, 1809, Russian Museum). Kiprensky died in Rome on October 17, 1836.

Majestic and diverse Russian painting always delights viewers with its inconstancy and perfection 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. Like aspirations 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 majestic art, because under their brush truly extraordinary works of various genres were born. 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 world art. The fact is that until the seventeenth century, domestic painting was associated exclusively with a 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, there was a separation of icon painting as a separate direction. The seventeenth century is the time of such artists as Simon Ushakov and Joseph Vladimirov. Then, in the Russian art world, portraiture arose 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 is also remembered for the birth household 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

April 5, 2015

Portrait is the art of reproducing the image of a person or group of persons with absolute accuracy. Typically this is artistic drawing, subject to a certain style. The artist who painted the portrait may belong to one or another school of painting. And his works are recognizable due to the individuality and style that the painter follows.

Past and present

Portrait artists depict real-life people by drawing from life, or reproduce images from the past from memory. In any case, the portrait is based on something and carries information about a specific person. Often such a picture reflects some era, be it modernity or the past. In this case, portrait artists, instead of regular background depict several accompanying conventional features, such as the architecture of the time indicated in the background, or other characteristic objects.

Rembrandt

Fine art is diverse and individual genres can exist independently of each other, or can be synthesized. Likewise, in a portrait, different subjects are combined into one whole, but the person’s face always dominates. The great portrait painters of the past mastered the art artistic image in excellence. Such masters include the Dutch artist Rembrandt van Rijn (1606-1669), who painted many portraits. And each of them is recognized as a masterpiece of painting. True art is immortal, because the paintings of Rembrandt van Rijn are already more than five hundred years old.

Engraving is a fine art

The great portrait painters of the past are the national treasure of the countries in which they were born, lived and created their paintings. A noticeable mark in the history of painting was left by the German artist Albrecht Durer (1471-1528), who worked in the genre of engraving. His paintings are exhibited in the most prestigious museums in the world. Paintings painted by the artist in different time, such as "Portrait of a Young Venetian Woman", "Portrait of Emperor Maximilian", "Portrait of a Young Man" and others, are unsurpassed masterpieces. Great portrait painters are different from all other artists high level self-expression. Their paintings are an example to follow.

Women's theme

Giovanni Boldini (1842-1931), Italian artist, ranks high on the list of "Great Portrait Painters of the World". He is recognized as an unrivaled master of female portraiture. You can look at his paintings for hours, the images are so accurate and picturesque. Rich colors, mostly cool shades, contrasting strokes, play of halftones - everything is collected in his paintings. The artist manages to convey the character of the lady depicted on the canvas, and even her mood.

Famous portrait artists of Russia

There have always been great artists in Rus'. Portrait art originated in the 14th century AD, when talented painters such as Andrei Rublev and Theophanes the Greek appeared. Their work did not fully correspond to the genre of portraiture, since these artists painted icons, however general principles the creation of the images coincided.

During the same period, the famous artist Dionysius (1440-1502), a protege of Ivan III, Tsar of Moscow, worked. The monarch commissioned the artist to paint a cathedral or church, and then watched him create his masterpieces. The king liked to participate in such a godly activity.

One of the first masters of Russian portrait art was Ivan Nikitin (1680-1742), who trained in Europe. He enjoyed the favor of Emperor Peter the Great. Nikitin's most famous works are portraits of Augustus II, King of Poland and Duke of Mecklenburg.

Alexey Zubov (1682-1750), an outstanding master of portrait art. He was a favorite of Peter the Great. Together with father famous artist-icon painter Fyodor Zubov, participated in the design of the Armory Chamber of the Moscow Kremlin.

The great portrait painters of the 18th century in Russia, as a rule, painted to order.

Vasily Tropinin (1776-1857), a famous Russian artist, truly became famous in 1827. He created a half-length portrait of Alexander Sergeevich Pushkin, the brightest representative of Russian poetry. The order was made by the poet himself. And the painting was intended for Alexander Sergeevich’s friend, Sobolevsky. The portrait became the most famous creation of all that ever depicted Pushkin. Tropinin's painting "Alexander Pushkin" forever became a classic of the genre.

Orest Kiprensky (1782-1836) began writing at the age of 22. The first portrait was created by Kiprensky in the style of Rembrandt; the canvas depicted A. K. Walbe. The artist’s most famous work is considered to be “Portrait of E. V. Davydov,” painted in 1809. Several paintings by Orest Kiprensky are in the Tretyakov Gallery.

Alexey Venetsianov (1780-1847) is a Russian artist who is considered the founder of the narrative style in portrait art. He was a student of the venerable painter Vladimir Borovikovsky. The young artist Venetsianov gained wide fame thanks to the painting “Portrait of a Mother,” created in 1801.

Borovikovsky Vladimir (1757-1825), a native of Mirgorod, became famous and famous after meeting Catherine II, traveling as part of her 1787 tour. The painter created a series of artistic paintings in the palace, which was located on the route of the empress. Catherine was delighted with Borovikovsky’s work and awarded him a large sum money.

The list of “Great Portrait Painters of Russia of the 19th Century” is headed by Ivan Nikolaevich Kramskoy (1837-1887), an outstanding painter, master of religious wall paintings. Kramskoy's portrait art allowed him to create a number of images of famous people, including P. M. Tretyakov, S. P. Botkin, I. I. Shishkin, M. E. Saltykov-Shchedrin, L. N. Tolstoy and others.

The most famous portrait painters of modern Russia

Igor Belkovsky (born 1962), corresponding member of the Russian Art Academy, member of the Union of Artists of Russia, laureate of the “For a Bright Future” award, established by the governor of the Chelyabinsk region.

Alexander Shilov (born 1943), People's Artist USSR, member of the Presidential Council for Culture and Art. Author of numerous portraits of his contemporaries.

Introduction

I. Russian portrait painters of the first half of the 19th century

1.3 Alexey Gavrilovich Venetsianov (1780-1847)

II. Association of Traveling Art Exhibitions

Chapter IV. The art of portraiture

Conclusion

In this work we will look at the art of portraiture in the 19th century:

The greatest masters of Russian art of the 19th century.

Association of Traveling Art Exhibitions.

What is a portrait?

The history of the appearance of the portrait.

First half of the 19th century - the time of the formation of the system of genres in Russian painting. In painting of the second half of the 19th century. the realistic direction prevailed. The character of Russian realism was determined by the young painters who left the Academy of Arts in 1863 and rebelled against what was being enforced at the Academy. classic style and historical and mythological themes. These artists organized in 1870

A traveling exhibition partnership whose mission was to provide members of the partnership with the opportunity to exhibit their work. Thanks to his activities, works of art became more accessible to a wide circle of people. Pavel Mikhailovich Tretyakov (1832-1898) since 1856 collected works by Russian artists, mainly the Peredvizhniki, and in 1892 donated his collection of paintings along with the collection of his brother S.M. Tretyakov to Moscow. In the portrait genre, the Wanderers created a gallery of images of outstanding cultural figures of their time: a portrait of Fyodor Dostoevsky (1872) by Vasily Perov (1833-1882), a portrait of Nikolai Nekrasov (1877-1878) by Ivan Kramskoy (1837-1887), a portrait of Modest Mussorgsky (1881) , made by Ilya Repin (1844-1930), a portrait of Leo Tolstoy (1884) by Nikolai Ge (1831-1894) and a number of others. Being in opposition to the Academy and its artistic policy, the Wanderers turned to the so-called. “low” topics; images of peasants and workers appear in their works.

The increase and expansion of artistic understanding and needs is reflected in the emergence of many art societies, schools, a number of private galleries (Tretyakov Gallery) and museums not only in capitals, but also in the provinces, in the introduction to school education drawing.
All this, in connection with the appearance of a number of brilliant works by Russian artists, shows that art took root on Russian soil and became national. The new Russian national art was sharply different in that it clearly and strongly reflected the main trends of Russian social life.

I. Russian portrait painters of the first half XIX century.

1.1 Orest Adamovich Kiprensky (1782-1836)

Born on the Nezhinskaya manor (near Koporye, now in the Leningrad region) on March 13 (24), 1782. He was the illegitimate son of the landowner A.S. Dyakonov, registered in the family of his serf Adam Schwalbe. Having received his freedom, he studied at the St. Petersburg Academy of Arts (1788-1803) with G.I. Ugryumov and others. He lived in Moscow (1809), Tver (1811), St. Petersburg (from 1812), and in 1816-1822 and from 1828 - in Rome and Naples.

An invaluable part of Kiprensky's work are graphic portraits, made mainly in pencil with coloring in pastels, watercolors, and colored pencils. He portrays General E.I. Chaplitsa (Tretyakov Gallery), P.A. Venison (GTG). In these images we see Russia, the Russian intelligentsia from the Patriotic War of 1812 to the December uprising.

Kiprensky's portraits appear before us as complex, thoughtful, and changeable in mood. Discovering various facets of human character and the spiritual world of man, Kiprensky each time used different painting possibilities in his early romantic portraits. His masterpieces are like one of the best lifetime portraits Pushkin (1827 Tretyakov Gallery), portrait of Avdulina (1822 State Russian Museum). The sadness and thoughtfulness of Kiprensky’s characters is sublime and lyrical.

"Favorite of light-winged fashion,

Although not British, not French,

You created again, dear wizard,

Me, the pet of pure muses. -

And I laugh at my grave

Left forever from mortal bonds.

I see myself as in a mirror,

But this mirror flatters me.

It says that I will not humiliate

The passions of important aonides.

From now on my appearance will be known, -

Pushkin wrote to Kiprensky in gratitude for his portrait. Pushkin treasured his portrait and this portrait hung in his office.

A special section consists of Kiprensky’s self-portraits (with tassels behind the ear, ca. 1808, Tretyakov Gallery; etc.), imbued with the pathos of creativity. He also owns the soulful images of Russian poets: K.N. Batyushkova (1815, drawing, Museum of the Institute of Russian Literature Russian Academy Sciences, St. Petersburg; V.A. Zhukovsky (1816). The master was also a virtuoso graphic artist; Working primarily with Italian pencil, he created a number of remarkable everyday characters (like The Blind Musician, 1809, Russian Museum). Kiprensky died in Rome on October 17, 1836.

1.2 Vasily Andreevich Tropinin (1776-1857)

Representative of romanticism in Russian fine art, master of portrait painting. Born in the village of Karpovka (Novgorod province) on March 19 (30), 1776 in the family of serfs of Count A.S. Minich; later he was sent to the disposal of Count I.I. Morkov as a dowry for Minikh’s daughter. He showed ability to draw as a boy, but his master sent him to St. Petersburg to study as a pastry chef. He attended classes at the Academy of Arts, first on the sly, and from 1799 - with the permission of Morkov; During his studies, he met O.A. Kiprensky. In 1804, the owner summoned the young artist to his place, and from then on he alternately lived in Ukraine, in the new carrot estate of Kukavka, and in Moscow, in the position of a serf painter, obliged to simultaneously carry out the economic orders of the landowner. In 1823 he received his freedom and the title of academician, but, abandoning his career in St. Petersburg, he remained in Moscow.

An artist from serfs, who with his creativity brought a lot of new things into Russian painting of the first half of the 19th century. He received the title of academician and became the most famous artist of the Moscow portrait school of the 20-30s. Later, the color of Tropinin’s painting becomes more interesting, the volumes are usually sculpted more clearly and sculpturally, but most importantly, the purely romantic feeling of the moving element of life insinuatingly grows, Tropinin is the creator of a special type of portrait - a painting. Portraits that introduce features of the genre, images with a specific plot: “Lacemaker”, “Spinner”, “Guitar Player”, “Gold Seamstress”.

The best of Tropinin's portraits, such as the portrait of his son Arseny (1818 Tretyakov Gallery), Bulakhov (1823 Tretyakov Gallery). Tropinin in his work follows the path of clarity and balance with simple compositions of portrait images. As a rule, the image is presented against a neutral background with a minimum of accessories. This is exactly how A.S. Tropinin portrayed it. Pushkin (1827) - sitting at the table in a free pose, dressed in a house dress, which emphasizes the naturalness of his appearance.

Tropinin's early works are restrained in color and classically static in composition (family portraits of the Morkovs, 1813 and 1815; both works are in the Tretyakov Gallery, Moscow). During this period, the master also created expressive local, Little Russian image-types of the Ukrainian, (1810s, Russian Museum, St. Petersburg). Bulakov, 1823; K.G.Ravich, 1823; both portraits in the Tretyakov Gallery).

Over the years, the role of the spiritual atmosphere - expressed by the background, significant details - only increases. The best example may serve as Self-Portrait with Brushes and Palette 1846, where the artist presented himself against the backdrop of a window with a spectacular view of the Kremlin. Tropinin dedicated a number of works to fellow artists depicted at work or in contemplation (I.P. Vitali, ca. 1833; K.P. Bryullov, 1836; both portraits in the Tretyakov Gallery; etc.). At the same time, Tropinin’s style is invariably characterized by a specifically intimate, homely flavor. In the popular Woman in the Window (based on M.Yu. Lermontov's poem Treasurer, 1841), this laid-back sincerity takes on an erotic flavor. Later works masters (Servant with Damask Counting Money, 1850s, ibid.) testify to the fading of coloristic mastery, anticipating, however, the keen interest in dramatic everyday life characteristic of the Wanderers. An important area of Tropinin’s creativity is also his sharp-character pencil sketches. Tropinin died in Moscow on May 3 (15), 1857.

Russian artist, representative of romanticism (known primarily for his rural genres). Born in Moscow on February 7 (18), 1780 merchant family. In his youth he served as an official. He studied art largely on his own, copying paintings from the Hermitage. In 1807-1811 he took painting lessons from V.L. Borovikovsky. Considered the founder of Russian printed caricature. A land surveyor by training, he left the service for painting. In the portrait genre, he created amazingly poetic, lyrical, romantic images in pastel, pencil, and oil - a portrait of V.S. Putyatina (Tretyakov Gallery). Among his most beautiful works of this kind is his own portrait (Museum of Alexander III), painted richly and boldly, in pleasant, thick gray-yellow and yellow-black tones, as well as a portrait he painted of the old painter Golovochesky ( Imperial Academy arts).

Venetsianov is a first-class master and an extraordinary person; which Russia should be quite proud of. He zealously sought out young talents directly from the people, mainly among painters, and attracted them to himself. The number of his students was over 60 people.

During Patriotic War 1812 created a series of propaganda and satirical pictures on the theme of popular resistance to the French occupiers.

He painted portraits, usually small in format, marked by subtle lyrical inspiration (M.A. Venetsianova, the artist’s wife, late 1820s, Russian Museum, St. Petersburg; Self-portrait, 1811, Tretyakov Gallery). In 1819 he left the capital and since then lived in the village of Safonkovo (Tver province), which he bought, inspired by the surrounding landscape and rural life. The best of Venetsianov’s paintings are classic in their own way, showing this nature in a state of idealized, enlightened harmony; on the other hand, the romantic element obviously takes over in them, the charm not of ideals, but of simple natural feelings against the background native nature and everyday life. His peasant portraits (Zakharka, 1825; or Peasant Woman with Cornflowers, 1839) appear as fragments of the same enlightened-natural, classical-romantic idyll.

New creative searches are interrupted by the death of the artist: Venetsianov died in the Tver village of Poddubye on December 4 (16), 1847 from injuries - he was thrown out of a wagon when the horses skidded on a slippery road. winter road. The master’s pedagogical system fosters a love of simple nature (around 1824 he created his own art school), became the basis of a special Venetsian school, the most characteristic and original of all personal schools of Russian art of the 19th century.

1.4 Karl Pavlovich Bryullov (1799-1852)

Born on November 29 (December 10), 1798 in the family of the artist P.I. Bryullov, brother of the painter K.P. Bryullov. He received his primary education from his father, a master of decorative carving, and then studied at the Academy of Arts (1810-1821). In the summer of 1822, he and his brother were sent abroad at the expense of the Society for the Encouragement of the Arts. Having visited Germany, France, Italy, England and Switzerland, in 1830 he returned to St. Petersburg. Since 1831 - professor at the Academy of Arts. A man of a remarkable destiny, instructive and original. Since childhood, he has been surrounded by impressions of Russian reality. Only in Russia did he feel at home, he strove for her, and yearned for her in a foreign land. Bryullov worked with inspiration, success, and passion. In his workshop, in two to three months, such masterpieces of portraiture appeared as portraits of Semenova, Doctor Orlov, Nestor and Platon the Kukolnik. In Bryullov’s portraits, executed with merciless truth and exceptionally high skill, one can see the era in which he lived, the desire for true realism, the diversity, naturalness and simplicity of the person depicted.

Having left historical painting, Bryullov’s interests lay in the direction of portraiture, in which he showed all his creative temperament and brilliance of skill. His brilliant decorative canvas “Horsewoman” (1832 Tretyakov Gallery), which depicts the pupil of Countess Yu.P. Samoilova Giovanina Paccini. Portrait of Samoilova herself with another pupil - Amatsilia (1839 Russian Museum). In the person of the writer Strugovshchikov (1840 Tretyakov Gallery) one can read the tension of inner life. Self-portrait (1848 Tretyakov Gallery) - a sadly thin face with a penetrating gaze. A very life-like portrait of Prince Golitsin, resting on an armchair in his office.

Bryullov possessing a powerful imagination, a keen eye and a faithful hand. He gave birth to living creations consistent with the canons of academicism.

Retiring from practical work relatively early, the master was actively involved in teaching at the Academy of Arts (from 1831 - professor). He also left a rich graphic heritage: numerous portraits (E.P. Bakunina, 1830-1832; N.N. Pushkina, the wife of the great poet; A.A. Perovsky, 1834; all in watercolor; etc.), illustrations, etc. .d.; Here romantic traits his talents manifested themselves even more directly than in architecture. Died on January 9 (21), 1887 in St. Petersburg.

An inspiring example for the partnership was the “St. Petersburg Artel of Artists,” which was founded in 1863 by participants in the “revolt of the fourteen” (I.N. Kramskoy, A.I. Korzukhin, K.E. Makovsky, etc.) - graduates of the Academy of Arts, who defiantly left it after the Academy’s council prohibited them from writing a competition picture on a free plot instead of the officially proposed theme from Scandinavian mythology. Standing up for the ideological and economic freedom of creativity, the “artel workers” began to organize their own exhibitions, but by the turn of the 1860s-1870s their activities practically came to naught. A new incentive was the appeal to the Artel (in 1869). With proper permission, in all cities of the empire there will be traveling art exhibitions in the following forms: a) providing residents of the provinces with the opportunity to get acquainted with Russian art and follow its successes; b) developing love for art in society; and c) making it easier for artists to market their works.” Thus, for the first time in the fine arts of Russia (except for the Artel), a powerful art group arose, not just a friendly circle or a private school, but a large community of like-minded people, which intended (contrary to the dictates of the Academy of Arts) not only to express, but also independently determine the process of development of artistic culture throughout the country.

The theoretical source of the creative ideas of the “Itinerants” (expressed in their correspondence, as well as in the criticism of that time - primarily in the texts of Kramskoy and the speeches of V.V. Stasov) was the aesthetics of philosophical romanticism. New art, liberated from the canons of academic classics. In fact, open the very course of history, thereby effectively preparing the future in your images. Among the “Wanderers”, such an artistic and historical “mirror” presented, first of all, modernity: the central place in the exhibitions was occupied by genre and everyday motifs, Russia in its many-sided everyday life. Genre beginning set the tone for portraits, landscapes, and even images of the past, as close as possible to the spiritual needs of society. In the later tradition, including the Soviet one, which tendentiously distorted the concept of “peredvizhnik realism,” the matter came down to social-critical, revolutionary-democratic subjects, of which there were indeed many. It is more important to keep in mind the unprecedented analytical and even visionary role that was given here not so much to the notorious social issues, but to art as such, creating its own sovereign judgment over society and thereby separating itself into its own, ideally self-sufficient artistic kingdom. Such aesthetic sovereignty, which grew over the years, became the immediate threshold of Russian symbolism and modernity.

At regular exhibitions (48 in total), which were shown first in St. Petersburg and Moscow, and then in many other cities of the empire, from Warsaw to Kazan and from Novgorod to Astrakhan, over the years one could see more and more examples of not only romantic-realistic, but also modernist stylistics. Difficult relations with the Academy eventually ended in a compromise, since by the end of the 19th century. (following the wish of Alexander III to “stop the division between artists”) a significant part of the most authoritative Peredvizhniki were included in the academic teaching staff. At the beginning of the 20th century. In the Partnership, friction between innovators and traditionalists intensified; the Peredvizhniki no longer represented, as they themselves were accustomed to believe, everything artistic and advanced in Russia. Society was rapidly losing its influence. In 1909 his provincial exhibitions ceased. The last, significant surge of activity took place in 1922, when the society adopted a new declaration, expressing its desire to reflect the life of modern Russia.

Chapter III. Russian portrait painters of the second half of the 19th century

3.1 Nikolai Nikolaevich Ge (1831-1894)

Russian artist. Born in Voronezh on February 15 (27), 1831 in the family of a landowner. He studied at the mathematical departments of Kyiv and St. Petersburg universities (1847-1850), then entered the Academy of Arts, from which he graduated in 1857. He was greatly influenced by K.P. Bryullov and A.A. Ivanov. He lived in Rome and Florence (1857-1869), in St. Petersburg, and from 1876 - on the Ivanovsky farm in the Chernigov province. He was one of the founders of the Association of Itinerants (1870). I did a lot of portrait painting. He began working on portraits while still studying at the Academy of Arts. Over the many years of creativity, he painted many of his contemporaries. These were mostly leading cultural figures. M.E. Saltykov - Shchedrin, M.M. Antokolsky, L.N. Tolstoy and others. Ge owns one of the best portraits of A.I. Herzen (1867, Tretyakov Gallery) - the image of a Russian revolutionary, an ardent fighter against autocracy and serfdom. But the painter’s intention is not limited to conveying external resemblance. Herzen’s face, as if snatched from the twilight, reflected his thoughts and the unshakable determination of a fighter for social justice. Ge captured in this portrait a spiritual historical figure, embodied the experience of her entire life, full of struggle and anxiety.

His works differ from Kramskoy’s in their emotionality and drama. Portrait of the historian N.I. Kostomarov (1870, Tretyakov Gallery) is written extraordinarily beautifully, temperamentally, freshly, freely. The self-portrait was painted shortly before his death (1892-1893, KMRI); the master’s face is illuminated with creative inspiration. The portrait of N. I. Petrunkevich (1893) was painted by the artist at the end of his life. The girl is depicted almost in full growth near the open window. She is immersed in reading. Her face in profile, the tilt of her head, and her posture express a state of thoughtfulness. Like never before, Ge paid great attention to the background. Color harmony testifies to the artist’s unspent powers.

Since the 1880s, Ge became a close friend and follower of Leo Tolstoy. In an effort to emphasize the human content of the gospel sermon, Ge moves on to an increasingly freer style of writing, sharpening color and light contrasts to the limit. The master painted wonderful portraits, full of inner spirituality, including a portrait of Leo Tolstoy at his desk (1884). In the image of N.I. Petrunkevich against the background of a window open to the garden (1893; both portraits in the Tretyakov Gallery). Ge died on the Ivanovsky farm (Chernigov province) June 1 (13), 1894.

3.2 Vasily Grigorievich Perov (1834-1882)

Born in Tobolsk on December 21 or 23, 1833 (January 2 or 4, 1834). He was the illegitimate son of the local prosecutor, Baron G.K. Kridener, and the surname “Perov” was given to the future artist as a nickname by his literacy teacher, an ordinary sexton. He studied at the Arzamas School of Painting (1846-1849) and the Moscow School of Painting, Sculpture and Architecture (1853-1861), where one of his mentors was S.K. Zaryanko. He was particularly influenced by P.A. Fedotov, a master of magazine satirical graphics, and among foreign masters - W. Hogarth and the genre painters of the Düsseldorf school. Lived in Moscow. He was one of the founding members of the Association of Itinerants (1870).

The best portrait works of the master date back to the turn of the 60-70s: F.M. Dostoevsky (1872, Tretyakov Gallery) A.N. Ostrovsky (1871, Tretyakov Gallery), I.S. Turgenev (1872, Russian Museum). Dostoevsky is especially expressive, completely lost in painful thoughts, nervously clasping his hands on his knee, an image of the highest intellect and spirituality. Sincere genre romance turns into symbolism, permeated with a mournful sense of frailty. Portraits by the master (V.I. Dal, A.N. Maikov, M.P. Pogodin, all portraits - 1872), reaching a spiritual intensity unprecedented for Russian painting. It is not without reason that the portrait of F.M. Dostoevsky (1872) is rightfully considered the best in the iconography of the great writer.

In the last decades of his life, the artist discovered the extraordinary talent of a writer and essayist (stories Aunt Marya, 1875; Under the Cross, 1881; and others; the latest edition - Stories of the Artist, M., 1960). In 1871-1882, Perov taught at the Moscow School of Painting, Sculpture and Architecture, where among his students were N.A. Kasatkin, S.A. Korovin, M.V. Nesterov, A.P. Ryabushkin. Perov died in the village of Kuzminki (in those years - near Moscow) on May 29 (June 10), 1882.

3.3 Nikolai Alexandrovich Yaroshenko (1846-1898)

Born in Poltava on December 1 (13), 1846 in a military family. He graduated from the Mikhailovsky Artillery Academy in St. Petersburg (1870), served in the Arsenal, and retired in 1892 with the rank of major general. He studied painting at the Drawing School of the Society for the Encouragement of Arts under I.N. Kramskoy and at the Academy of Arts (1867-1874). Traveled a lot - in the countries of Western Europe, the Near and Middle East, the Urals, Volga, Caucasus and Crimea. He was a member (since 1876) and one of the leaders of the Association of Itinerants. Lived mainly in St. Petersburg and Kislovodsk.

His works can be called portraits - such as “Stoker” and “Prisoner” (1878, Tretyakov Gallery). “Stoker” is the first image of a worker in Russian painting. “The Prisoner” is a relevant image during the years of the turbulent populist revolutionary movement. “Student” (1880, Russian Russian Museum) a young girl with books walks along the wet St. Petersburg pavement. In this image, the entire era of women’s struggle for independent spiritual life found expression.

Yaroshenko was a military engineer, highly educated with a strong character. The Peredvizhniki artist served revolutionary and democratic ideals with his art. A master of social genre and portraiture in the spirit of the “Itinerants”. The island has made a name for itself with its expressive pictorial compositions, appealing to sympathy for the world of socially outcasts. A special kind of anxious, “conscientious” expression gives life to the best portraits by Yaroshenko (P.A. Strepetova, 1884, ibid; G.I. Uspensky, 1884, Art Gallery, Yekaterinburg; N.N.Ge, 1890, Russian Museum, St. Petersburg ). Yaroshenko died in Kislovodsk on June 25 (July 7), 1898.

3.4 Ivan Nikolaevich Kramskoy (1837-1887)

Born in the Voronezh province into the family of a minor official. Since childhood, I have been interested in art and literature. After graduating from the district school in 1850, he served as a scribe, then as a retoucher for a photographer. In 1857 he ended up in St. Petersburg and worked in a photo studio. In the autumn of the same year he entered the Academy of Arts.

The predominant area of artistic achievement for Kramskoy remained portraiture. Kramskoy in the portrait genre is occupied by an exalted, highly spiritual personality. He created a whole gallery of images of major figures of Russian culture - portraits of Saltykov - Shchedrin (1879, Tretyakov Gallery), N.A. Nekrasova (1877, Tretyakov Gallery), L.N. Tolstoy (1873, Tretyakov Gallery), P.M. Tretyakov (1876, Tretyakov Gallery), I.I. Shishkina (1880, Russian Museum), D.V. Grigorovich (1876, Tretyakov Gallery).

Kramskoy’s artistic style is characterized by a certain protocol dryness, monotony of compositional forms and schemes, since the portrait shows the features of working as a retoucher in his youth. The portrait of A.G. is different. Litovchenko (1878, Tretyakov Gallery) with its picturesque richness and beauty of brown and olive tones. Collective works by peasants were also created: “Forester” (1874, Tretyakov Gallery), “Mina Moiseev” (1882, Russian Museum), “Peasant with a bridle” (1883, KMRI). Kramskoy repeatedly turned to a form of painting in which two genres came into contact - portraiture and everyday life. For example, works of the 80s: “Unknown” (1883, Tretyakov Gallery), “Inconsolable Grief” (1884, Tretyakov Gallery). One of the peaks of Kramskoy’s creativity is the portrait of Nekrasov, Self-Portrait (1867, Tretyakov Gallery) and the portrait of the agronomist Vyunnikov (1868, Museum of the BSSR).

3.5 Ilya Efimovich Repin (1844-1930)

Repin is one of the best portrait painters of the era. A whole gallery of images of his contemporaries was created by him. With what skill and strength they are captured on his canvases. In Repin’s portraits everything is thought out down to the last fold, every feature is expressive. Repin had the greatest ability of an artist to penetrate into the very essence of psychological characteristics, continuing the traditions of Perov, Kramskoy, and Ge, he left images of famous writers, composers, and actors who glorified Russian culture. In each individual case, he found different compositional and coloristic solutions with which he could most expressively reveal the image of the person depicted in the portrait. How sharply the surgeon Pirogov squints. The mournfully beautiful eyes of the artist Strepetova (1882, Tretyakov Gallery) dart, and how the sharp, intelligent face of the artist Myasoedov, the thoughtful Tretyakov, is painted. He wrote “Protodeacon” (church minister 1877, Russian Russian Museum) with merciless truth. Written with warmth by the sick M.P. Mussorgsky (1881, Tretyakov Gallery), a few days before the composer's death. The portraits of the young Gorky, the wise Stasov (1883, State Russian Museum) and others are heartfeltly executed. “Autumn Bouquet” (1892, Tretyakov Gallery) is a portrait of Vera’s daughter, how sunny the face of the artist’s daughter shines in the warm shadow of a straw hat. With great love, Repin conveyed a face that was attractive with its youth, cheerfulness, and health. The expanses of fields, still blooming, but touched by the yellowness of the grass, green trees, and the transparency of the air bring an invigorating mood to the work.

Repin's portraits are surprisingly lyrically attractive. He creates poignant folk types, numerous perfect images of cultural figures, and graceful social portraits (Baroness V.I. Ikskul von Hildebrandt, 1889). The images of the artist’s relatives are especially colorful and sincere: a whole series of paintings with Repin’s wife N.I. Nordman-Severova. His purely graphic portraits, executed in graphite pencil or charcoal, are also masterful (E. Duse, 1891; Princess M.K. Tenisheva, 1898; V.A. Serov, 1901). Repin also proved himself to be an outstanding teacher: he was a professor-head of the workshop (1894-1907) and rector (1898-1899) of the Academy of Arts, and at the same time taught at Tenisheva’s school-workshop.

After the October Revolution of 1917, the artist found himself separated from Russia, when Finland gained independence, he never moved to his homeland, although he maintained contacts with friends living there (in particular, with K.I. Chukovsky). Repin died on September 29, 1930. In 1937, Chukovsky published a collection of his memoirs and articles on art (Dalokoe Nearby), which was then republished several times.

3.6 Valentin Aleksandrovich Serov (1865-1911)

Born in St. Petersburg in the family of composer A.N. Serova. Since childhood, V.A. Serov was surrounded by art. The teacher was Repin. Serov worked near Repin from early childhood and very soon discovered talent and independence. Repin sends him to the Academy of Arts to P.P. Chistyakov. The young artist won respect, and his talent aroused admiration. Serov wrote “Girl with Peaches”. Serov's first major work. Despite its small size, the picture seems very simple. It is written in pink and gold tones. He received an award from the Moscow Society of Art Lovers for this painting. The next year, Serov painted a portrait of his sister Maria Simonovich and subsequently called it “Girl Illuminated by the Sun” (1888). The girl sits in the shade, and the rays of the morning sun illuminate the clearing in the background.

Serov became a fashionable portrait painter. Famous writers, aristocrats, actors, artists, entrepreneurs and even kings posed in front of him. In adulthood, Serov continued to paint relatives and friends: Mamontov, Levitan, Ostroukhov, Chaliapin, Stanislavsky, Moskvin, Lensky. Serov carried out the orders of the crowned Alexander III and Nicholas II. The Emperor is depicted in a simple jacket of the Preobrazhensky Regiment; this painting (destroyed in 1917, but preserved in the author's replica of the same year; Tretyakov Gallery) is often considered the best portrait of the last Romanov. The master painted both titled officials and businessmen. Serov worked on each portrait to the point of exhaustion, with complete dedication, as if the work he started was his last work. The impression of spontaneous, light artistry was enhanced in Serov’s images because he worked freely in a wide variety of techniques (watercolor, gouache, pastel) , reducing to a minimum or completely eliminating the difference between a sketch and a painting. Black and white drawing was always an equal form of creativity for the master (the intrinsic value of the latter was consolidated in his work since 1895, when Serov performed a series of sketches of animals, working on illustrating the fables of I.A. Krylov).

At the turn of the 19th-20th centuries. Serov becomes perhaps the first portrait painter in Russia, if he is inferior to anyone in this regard, then only to Repin. It seems that he is best at intimate, lyrical images of women and children (N.Ya. Derviz with a child, 1888-1889; Mika Morozov, 1901; both portraits - Tretyakov Gallery) or images of creative people (A. Masini, 1890; K.A. Korovin, 1891; F. Tamagno, 1891; N.A. Leskov, 1894; all in the same place), where the colorful impression and free brushstroke reflect the state of mind of the model. But even more official, secular portraits organically combine subtle artistry with the no less subtle gift of an artist-psychologist. Among the masterpieces of the “secular” Serov are Count F.F. Sumarokov-Elston (later Prince Yusupov), 1903, Russian Museum; G.L. Girshman, 1907; V.O. Girshman, 1911; I.A.Morozov, 1910; Princess O.K. Orlova, 1911; everything is there).

In the portraits of the master in these years, Art Nouveau completely dominated with its cult of a strong and flexible line, monumental-catchy gesture and pose (M. Gorky, 1904, A.M. Gorky Museum, Moscow; M.N. Ermolova, 1905; F.I. .Chaliapin, charcoal, chalk, 1905; both portraits - in the Tretyakov Gallery; Ida Rubinstein, tempera, charcoal, 1910, Russian Museum). Serov left a grateful memory of himself as a teacher (in 1897-1909 he taught at the Moscow School of Painting, Sculpture and Architecture, where his students included K.F. Yuon, N.N. Sapunov, P.V. Kuznetsov, M. S. Saryan, K. S. Petrov-Vodkin). Serov died in Moscow on November 22 (December 5), 1911.

chapter. The art of portraiture

Portrait is a significant and important genre in art. The word “portrait” itself goes back to the old French word “pourtrait”, which means: a picture of a feature; it also goes back to the Latin verb “protrahere” - that is, “to draw out”, “to discover”; later - “depict”, “portrait”. In Russian, the word “portrait” corresponds to the word “similar”.

In fine art, to which this term originally belongs, a portrait means an image of a specific person or group of people, in which the individual appearance of a person is conveyed, reproduced, his inner world, the essence of his character.

The image of a person is the main theme of painting. Studying it begins with studies of the head. All formal paintings are subordinated to the creation of an image, the transmission of a person’s psychological state. In painting, the depiction of a human head from life must correspond to our usual three-dimensional vision and understanding of the world around us.

The techniques of painting the head in the Russian academic school of the first half of the 19th century continue the tradition of sculpting the form with the help of strong and hot shadows. We can judge academic methods by considering the works of O. Kiprensky, K. Bryullov, A. Ivanov. Academic techniques cannot be considered the same for all artists, but what the academy students have in common is discipline of form.

A portrait can be considered quite satisfactory when the intimate and personal features of the depicted person are conveyed, when the original is reproduced exactly, with all the features of his appearance and internal individual character, in his most familiar pose, with his most characteristic expression. Satisfying this requirement is part of the scope of the tasks of art and can lead to highly artistic results if performed by gifted craftsmen who put their personal taste and sense of nature into the reproduction of reality.

Painting is, first of all, an image of form and volume. Therefore, the shape is often pre-worked out in one color with exactly all the details. Then the lights were painted cold, thick, textured; shadows are hot, transparent, using varnishes, oils, resins. All this applies to oil painting. Watercolors of that time were only tinted drawings, and tempera was used for church paintings, which were far from working from life.

The sequence of work and the system were of great importance in academic painting. Glazes, dry and wet, gave the head its final shape, color, and expression. But probably some heads of K.P. Bryullov painted at once, while maintaining strict modeling, cold lights and hot shadows. The same hot shadows lie on the portraits of I. N. Kramskoy. Their redness is softened by the usually diffused museum light. But if a ray of sun falls on the portrait, you are amazed at the relative brightness of the red shadows.

The impressionists paid the greatest attention to the importance of warm and cold lights in the sculpting of a living head. Either the lights are cold and the shadows are warm, or vice versa. In each model, the conditions of the situation are selected based on complexion, clothing and general appearance. To create interesting lighting, screens are used - cardboard, canvas, paper. The screen can darken part of the background or clothing, which will make your face stand out better.

Preserving the preparatory sketch of M. A. Vrubel for the portrait of N. I. Zabela - Vrubel, where the boundaries of all color changes are drawn in pencil. The surface of the face is divided into very small areas, like a mosaic. If you fill each of them with the appropriate color, the portrait will be ready.

IN portrait image not only the model is reflected, but also the artist himself. Therefore, the author is recognized by his works. The same person looks completely different in portraits by different artists. After all, each of them brings into the portrait his own attitude towards the model, towards the world, his own feelings and thoughts, his own way of seeing and feeling, his own mental make-up, his own worldview. The artist not only copies the model, not only reproduces her appearance - he communicates his impressions of her, conveys, expresses his idea of her.

belonged to the portrait genre great place in the system of academic education, since teachers of the early nineteenth century saw precisely in the depiction of a person the way of the artist’s direct appeal to nature.

As democratic tendencies develop and become established in Russian art in the process of solving common creative problems, a convergence of searches in different genres and especially in portraiture is observed.

Working on a portrait brings the artist into close contact with representatives of various social strata modern society, and working from life significantly expands and deepens the understanding of the psychology of the embodied images in the picture. Portraiture is enriched with typical folk images. Deepens psychological characteristics the person depicted in the portrait, his moral and social understanding. In the portrait, one can especially feel the characteristics of the Wanderers, not only a critical attitude to life, but also a search for positive image, manifested most forcefully in the images of representatives of the intelligentsia.

Russian art has a rich tradition of realistic portraiture dating back to the 18th century, which left a significant legacy. They developed fruitfully in the first half of the 19th century. In these eras, it was the portrait, relatively free from the power of the canons, that, in terms of the realistic completeness of its images, went ahead of both subject-historical and everyday painting, which was taking only its first steps in Russian art.

The best portrait painters of the 18th century and the first half of the 19th century convey to us the typical features of their contemporaries. But the tasks of typification while preserving the individual in the human image came into conflict in these portraits with the dominant classical concept, in which the typical was understood as abstract from the individual. In the Itinerant portrait, we encounter the opposite understanding of the typical: the deeper the penetration into a person’s individuality, the more specific and vividly his image is recreated, the more clearly they appear in his portrait common features, formed under the influence of certain living conditions.

Bibliography

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Gomberg - Verzhbitskaya E.P. The Peredvizhniki: a book about the masters of Russian realistic painting from Perov to Levitan - M., 1961.
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The art of portraiture. Collection - M., 1928.
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Pushkin A.S. Complete collection works in one volume - M., 1938.
Roginskaya F.S. Peredvizhniki - M., 1997.
Shchulgin V.S., Koshman L.V., Zezina M.Z. Culture of Russia IX - XX centuries. uch. manual - M., “Prostor” 1996.
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Shulgin V.S., Koshman L.V., Zezina M.Z., Culture of Russia IX - XX centuries. uch. manual - M. "Prostor", 1996 P. 205

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Russian portrait painters of the 18th and 19th centuries. Famous Russian artists. Early portrait art

Russian portrait painters of the first half of the 19th century.

1.1 Orest Adamovich Kiprensky (1782-1836)

Past and present

Rembrandt

Engraving is a fine art

Women's theme

Famous portrait artists of Russia

The most famous portrait painters of modern Russia

I. Russian portrait painters of the first half XIX century.

Chapter III. Russian portrait painters of the second half of the 19th century

chapter. The art of portraiture