Exposition

The film is popular due to its entertaining plot. However true value The work is a beautifully expressed state of nature, seen by the artist in Belovezhskaya Pushcha. What is shown is not a dense dense forest, but sunlight, making his way through the columns of giants. You can feel the depth of the ravines and the power of centuries-old trees. And the sunlight seems to timidly peek into this dense forest. The frolicking cubs feel the approach of morning. We are observers of wildlife and its inhabitants.

Story

Shishkin was suggested to the idea of ​​the painting by Savitsky. Savitsky painted the bears in the film itself. These bears, with some differences in poses and numbers (at first there were two of them), appear in preparatory drawings and sketches. Savitsky turned out the bears so well that he even signed the painting together with Shishkin. However, when Tretyakov acquired the painting, he removed Savitsky’s signature, leaving the authorship to Shishkin. After all, in a painting, Tretyakov said, “from the concept to the execution, everything speaks about the manner of painting, about creative method, characteristic of Shishkin."

• Most Russians call this picture“Three Bears”, despite the fact that there are not three, but four bears in the picture. This is apparently due to the fact that during the Soviet era, grocery stores sold “Bear-toed Bear” candies with a reproduction of this picture on a candy wrapper, which were popularly called “Three Bears.”
• Another erroneous common name is “Morning in pine forest"(tautology: pine forest is a pine forest).

Notes

Literature

• Ivan Ivanovich Shishkin. Correspondence. Diary. Contemporaries about the artist / Comp. I. N. Shuvalova - Leningrad: Art, Leningrad branch, 1978;
• Alenov M. A., Evangulova O. S., Livshits L. I. Russian art XI - early XX centuries. - M.: Art, 1989;
• Anisov L. Shishkin. - M.: Young Guard, 1991. - (Series: Life of Remarkable People);
• State Russian Museum. Leningrad. Painting of the XII - early XX centuries. - M.: fine arts, 1979;
• Dmitrienko A. F., Kuznetsova E. V., Petrova O. F., Fedorova N. A. 50 short biographies masters of Russian art. - Leningrad, 1971;
• Lyaskovskaya O. A. Plein air in Russian paintings of the 19th century century. - M.: Art, 1966.

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See what “Morning in a Pine Forest” is in other dictionaries:

- “MORNING IN A PINE FOREST”, Canada Latvia, BURRACUDA FILM PRODUCTION/ATENTAT CULTURE, 1998, color, 110 min. Documentary. About the creative self-expression of six young people, the search for mutual understanding through creativity. Their lives are shown during... Encyclopedia of Cinema

MORNING IN A PINE FOREST- Painting by I.I. Shishkina. Created in 1889, located in Tretyakov Gallery. Dimensions 139 × 213 cm. One of the most famous landscapes in Shishkin’s work depicts a dense impenetrable forest* middle zone Russia. In the thicket of the forest on fallen trees... ... Linguistic and regional dictionary

Jarg. stud. First scheduled morning training session. (Recorded 2003) ... Large dictionary of Russian sayings

Ivan Ivanovich Shishkin (1832-1898) - a great landscape artist. He, like no one else, conveyed the beauty of his native nature through his canvases. Looking at his paintings, many people get the impression that in just a little while the breeze will blow or birdsong will be heard.

At the age of 20, I.I. Shishkin entered the Moscow School of Painting and Sculpture, where teachers helped him learn the direction in painting that he followed throughout his life.

Without a doubt, "Morning in pine forest"is one of the artist's most popular paintings. However, Shishkin did not write this painting alone. The bears were drawn by Konstantin Savitsky. Initially, the painting bore the signatures of both artists, but when it was brought to the buyer Pavel Tretyakov, he ordered Savitsky’s name to be erased, explaining that he had ordered the painting only from Shishkin.

Description of the artwork “Morning in a pine forest”

Year: 1889

oil on canvas, 139 × 213 cm

Tretyakov Gallery, Moscow

“Morning in a Pine Forest” is a masterpiece that radiates admiration for Russian nature. Everything looks very harmonious on the canvas. The effect of nature awakening from sleep is masterfully created with green, blue and bright yellow tones. In the background of the picture we see the rays of the sun barely breaking through, they are depicted in bright golden shades.

The artist depicted the fog swirling on the ground so realistically that you can even feel the coolness of the summer morning.

The painting “Morning in a Pine Forest” is so brightly and vividly drawn that it looks like a photograph of a forest landscape. Shishkin professionally and lovingly depicted every detail of the canvas. In the foreground are bears climbing a fallen pine tree. Their high-spirited play evokes only positive emotions. It seems that the cubs are very kind and harmless, and the morning is like a holiday for them.

The artist depicted bears in the foreground and sunlight in the background most vividly and richly. All other objects of the canvas look like light complementary sketches.

Apparently, "Fog in a Pine Forest", which was successfully exhibited at traveling exhibition in Moscow (now in a private collection in Czechoslovakia) gave birth to a mutual desire among Shishkin and Savitsky to paint a landscape with a similar motif, including a unique genre scene with frolicking bears. After all, the leitmotif of the famous painting of 1889 is precisely the fog in a pine forest. Judging by the description of the landscape that ended up in Czechoslovakia, its background with a section of dense forest resembles a distant view of the oil sketch of the painting “Morning in a Pine Forest,” owned by the State Tretyakov Gallery. And this once again confirms the possibility of interconnection between both paintings. Apparently, according to Shishkin’s sketch (that is, the way they were conceived by the landscape painter), Savitsky painted the bears in the picture itself. These bears, with some differences in poses and in number (at first there were two of them), appear in all of Shishkin’s preparatory sketches and sketches. And there were a lot of them. The State Russian Museum alone houses seven pencil sketches-variants. Savitsky turned out the bears so well that he even signed the picture together with Shishkin. However, the person who purchased it removed the signature, deciding to confirm only the authorship of Shishkin for this painting. After all, in it “from the concept to the execution, everything speaks about the manner of painting, about the creative method that is characteristic of Shishkin.”

They said about Shishkin: “He is a convinced realist, a realist to the core, deeply sensitive and passionately loving nature...”. But at the same time, the artist constructs the landscape, theatricalizes it, offering a kind of “natural performance”.

The entertaining genre motif introduced into the picture greatly contributed to its popularity, but the true value of the work was the beautifully expressed state of nature. This is not just a dense pine forest, but a morning in the forest with its fog that has not yet dissipated, with the lightly pinked tops of huge pines, and cold shadows in the thickets. You can feel the depth of the ravine, the wilderness. The presence of a bear family located on the edge of this ravine gives the viewer a feeling of remoteness and deafness of the wild forest.

“Russia is a country of landscapes,” argued Shishkin. He created many artistic landscapes that are symbols of Russia, and the painting is one of such symbols for many generations of people all over the planet.

Plot

With rare exceptions, the subject of Shishkin's paintings (if you look at this issue broadly) is one - nature. Ivan Ivanovich is an enthusiastic, loving contemplator. And the viewer becomes an eyewitness to the painter’s meeting with his native expanses.

Shishkin was an extraordinary expert on the forest. He knew everything about trees of different species and noticed errors in the drawing. During plein airs, the artist’s students were ready to literally hide in the bushes, just so as not to hear criticism in the spirit of “Such a birch cannot exist” or “these pine trees are fake.”

The students were so afraid of Shishkin that they hid in the bushes

As for people and animals, they occasionally appeared in Ivan Ivanovich’s paintings, but they were more of a background than an object of attention. “Morning in a Pine Forest” is perhaps the only painting where bears compete with the forest. For this, thanks to one of Shishkin’s best friends - the artist Konstantin Savitsky. He suggested such a composition and depicted animals. True, Pavel Tretyakov, who bought the canvas, erased Savitsky’s name, so for a long time the bears were attributed to Shishkin.

Portrait of Shishkin by I. N. Kramskoy. 1880

Context

Before Shishkin, it was fashionable to paint Italian and Swiss landscapes. “Even in those rare cases when artists took on the task of depicting Russian localities, Russian nature became Italianized, adjusted to the ideal of Italian beauty,” recalled Alexandra Komarova, Shishkin’s niece. Ivan Ivanovich was the first who painted Russian nature realistically with such ecstasy. So that, looking at his paintings, a person would say: “There is a Russian spirit there, it smells of Russia.”

Rye. 1878

And now the story of how Shishkin’s canvas became a wrapper. Around the same time that “Morning in a Pine Forest” was presented to the public, Julius Geis, head of the Einem Partnership, was brought a candy to try: a thick layer of almond praline between two wafer plates and enrobed chocolate. The confectioner liked the candy. Geis thought about the name. Then his gaze lingered on a reproduction of a painting by Shishkin and Savitsky. This is how the idea of ​​“Teddy Bear” came about.

The wrapper, familiar to everyone, appeared in 1913, created by the artist Manuil Andreev. To the plot of Shishkin and Savitsky, he added a frame from spruce branches and the Stars of Bethlehem - in those years, candy was the most expensive and desired gift for the Christmas holidays. Over time, the wrapper has gone through various adjustments, but remains conceptually the same.

The fate of the artist

“Lord, will my son really be a painter!” — Ivan Shishkin’s mother lamented when she realized that she could not convince her son, who had decided to become an artist. The boy was terribly afraid of becoming an official. And, by the way, it’s good that he didn’t. The fact is that Shishkin had an uncontrollable urge to draw. Literally every sheet that was in Ivan’s hands was covered with drawings. Just imagine what the official Shishkin could do with the documents!

Shishkin knew all the botanical details about trees

Ivan Ivanovich studied painting first in Moscow, then in St. Petersburg. Life was hard. The artist Pyotr Neradovsky, whose father studied and lived with Ivan Ivanovich, wrote in his memoirs: “Shishkin was so poor that he often did not have his own boots. To go out somewhere from the house, it happened that he put on his father's boots. On Sundays they went to lunch together with my father’s sister.”

In the wild north. 1891

But everything was forgotten in the summer in the open air. Together with Savrasov and other classmates, they went somewhere out of town and painted sketches from life there. “It was there, in nature, that we really learned... In nature, we studied, and also took a break from the casts,” Shishkin recalled. Even then he chose the theme of his life: “I truly love the Russian forest and only write about it. The artist needs to choose the one thing that he loves most... There’s no way to throw it away.” By the way, Shishkin learned to masterfully paint Russian nature abroad. He studied in the Czech Republic, Germany, and Switzerland. The paintings brought from Europe brought in the first decent money.

After the death of his wife, brother and son, Shishkin drank for a long time and could not work

Meanwhile, in Russia, the Peredvizhniki protested against the academicians. Shishkin was incredibly happy about this. In addition, many of the rebels were friends of Ivan Ivanovich. True, over time he quarreled with both of them and was very worried about this.

Shishkin died suddenly. I sat down at the canvas, just about to start working, and yawned once. and that's all. This is exactly what the painter wanted - “instantly, right away, so as not to suffer.” Ivan Ivanovich was 66 years old.

It’s amazing how the life of a work of art that comes from the brush of a master can turn out. Everyone knows I. Shishkin’s painting “Morning in a Pine Forest” and mainly as the painting “Three Bears”. The paradox also lies in the fact that the canvas depicts four bears, which were completed by the magnificent genre painter K. A. Savitsky.

A little from the biography of I. Shishkin

The future artist was born in Yelabuga in 1832, on January 13, in the family of a poor merchant who was passionate about local history and archeology. He enthusiastically passed on his knowledge to his son. The boy stopped attending the Kazan gymnasium after the fifth grade, and all free time spent drawing from life. Then he graduated not only from the painting school in Moscow, but also from the academy in St. Petersburg. His talent as a landscape painter was fully developed by this time. After a short trip abroad, the young artist went to his native place, where he painted nature untouched by human hands. He exhibited his new works at exhibitions of the Peredvizhniki, amazing and delighting viewers with the almost photographic veracity of his canvases. But the most famous painting was “Three Bears,” painted in 1889.

Friend and co-author Konstantin Apollonovich Savitsky

K.A. Savitsky was born in Taganrog into the family of a military doctor in 1844. He graduated from the Academy in St. Petersburg and continued to improve his skills in Paris. When he returned, P. M. Tretyakov acquired his first work for his collection. Since the 70s of the 19th century, the artist exhibited his most interesting genre works at exhibitions of the Itinerants. K. A. Savitsky quickly gained popularity among the general public. The author especially likes his canvas “Acquainted with the Evil One,” which can now be seen in the State Tretyakov Gallery. Shishkin and Savitsky became such close friends that Ivan Ivanovich asked his friend to become godfather his son. Unfortunately for both of them, the boy died at the age of three. And then other tragedies swept over them. Both buried their wives. Shishkin, submitting to the will of the Creator, believed that troubles reveal an artistic gift in him. He also appreciated his friend’s great talent. Therefore, it is not surprising that K.A. Savitsky became the co-author of the film “Three Bears”. Although Ivan Ivanovich himself knew how to write animals very well.

“Three Bears”: description of the painting

Art critics honestly admit that they do not know the history of the painting. Her plan, the very idea of ​​the canvas, apparently arose while searching for nature on one of large islands Seliger Gorodomlya. The night is receding. Dawn is breaking. The first rays of the sun break through the thick tree trunks and the fog rising from the lake. One powerful pine tree, uprooted from the ground and half broken, occupies the central part of the composition. A fragment of it with a dried crown falls into the ravine on the right. It is not written, but its presence is felt. And what a wealth of colors the landscape painter used! The cool morning air is blue-green, slightly cloudy and foggy. The mood of awakening nature is conveyed in green, blue and sunny yellow colors. In the background, golden rays flicker brightly in the high crowns. The hand of I. Shishkin is felt throughout the work.

Meeting of two friends

Show new job Ivan Ivanovich wanted it for his friend. Savitsky came to the workshop. This is where questions arise. Either Shishkin suggested that Konstantin Apollonovich add three bears to the picture, or Savitsky himself looked at it with a fresh look and made a proposal to introduce an animalistic element into it. This, undoubtedly, should have enlivened the desert landscape. And so it was done. Savitsky very successfully, very organically fit four animals onto a fallen tree. The well-fed, cheerful cubs turned out to be like little children frolicking and exploring the world under the supervision of a strict mother. He, like Ivan Ivanovich, signed on canvas. But when Shishkin’s painting “Three Bears” came to P. M. Tretyakov, he, having paid the money, demanded that Savitsky’s signature be washed away, since the main work was done by Ivan Ivanovich, and his style was undeniable. This is where we can finish the description of Shishkin’s painting “Three Bears”. But this story has a “sweet” continuation.

Confectionery factory

In the 70s XIX century enterprising Germans Einem and Geis built a confectionery factory in Moscow that produced very high-quality candies, cookies and other similar products. To increase sales, an advertising proposal was invented: print reproductions of Russian paintings on candy wrappers, and on the back - brief information about the picture. It turned out both tasty and educational. It is now unknown when P. Tretyakov’s permission was received to put reproductions of paintings from his collection on candy, but on one of the candy wrappers, which depicts the painting “Three Bears” by Shishkin, the year is 1896.

After the revolution, the factory expanded, and V. Mayakovsky was inspired and composed an advertisement, which is printed on the side of the candy wrapper. She called for saving money in the savings bank to buy tasty, but expensive candies. And up to today in any chain store you can buy " Clubfoot bear”, which is remembered by all sweet tooths as “The Three Bears”. The same name was assigned to the painting by I. Shishkin.