In a sultry country summer or in a protracted blizzard. Without leaving home, you can find inspiration in ordinary fruits or unusual colors. The subject does not try to turn its head, as in a portrait, and does not change shadows to light every second, as in a landscape. That’s what’s good about the still life genre. And “dead nature” translated from French, or “ quiet life things" in the Dutch version, really enlivens the interior. Natalya Letnikova presents the top 7 still lifes by Russian artists.
"Forest violets and forget-me-nots"
Forest violets and forget-me-nots
Isaac Levitan's painting is like a blue sky and a white cloud - from the singer of Russian nature. Only on the canvas is not native open spaces, but a bouquet of wild flowers. Dandelions, lilacs, cornflowers, immortelle, ferns and azaleas... After the forest, the artist’s studio turned into “either a greenhouse or a flower shop.” Levitan loved flower still lifes and taught his students to see both color and inflorescences: “They should smell not of paint, but of flowers.”
"Apples and Leaves"
Apples and leaves
The works of Ilya Repin organically set off the brilliant setting of the Russian Museum. The Itinerant artist composed a composition for his student, Valentin Serov. It turned out so picturesque that the teacher himself took up the brush. Six apples from an ordinary garden - bruised and with “barrels”, and a heap of leaves covered in autumn colors as a source of inspiration.
“Bouquet of flowers. Phloxes"
Bouquet of flowers. Phloxes
Painting by Ivan Kramskoy. “A talented person won’t waste time on depicting, say, basins, fish, etc. It’s good to do this for people who already have everything, but we have a lot to do,” Kramskoy wrote to Vasnetsov. And yet the genre of still life at the end of life famous portrait painter did not ignore it. A bouquet of phlox in a glass vase was presented at the XII traveling exhibition. The painting was bought before the opening day.
"Still life"
Still life
Kazimir Malevich on the way to the “Black Square” through impressionism and cubism, bypassing realism. A bowl of fruit is the fruit of creative quests, even within the same picture: thick black lines of the French cloisonné technique, flat dishes and voluminous fruit. All components of the picture are united only by color. Characteristic of an artist - bright and rich. Like a challenge to pastel colors real life.
"Herring and Lemon"
Herring and lemon
Four children and painting. This combination in the life of an artist unmistakably dictates the genre. This is what happened with Zinaida Serebryakova. Numerous family portraits and still lifes, from which you can create a menu: “Fruit Basket”, “Asparagus and Strawberries”, “Grapes”, “Fish on Greens”... In the hands of a true master, “herring and lemon” will become a work of art. Poetry and simplicity: spiral lemon peel and fish without any frills.
"Still life with samovar"
Still life with samovar
A student of Serov, Korovin and Vasnetsov, “Jack of Diamonds” - Ilya Mashkov loved to depict the world around him, and more vividly. Porcelain figurines and begonias, pumpkins... Meat, game - in the spirit of the old masters, and Moscow bread - sketches from the Smolensk market of the capital. And according to Russian tradition, where would we be without a samovar? A still life from the area of festive life with fruits and bright dishes is complemented by a skull - a reminder of the frailty of life.
"Study with medals"
Study with medals
Still life in Soviet style. The 20th century artist Anatoly Nikich-Krilichevsky showed in one painting the entire life of the first Soviet world champion in speed skating, Maria Isakova. With cups, behind each of which are years of training; medals that were won in a bitter struggle; letters and huge bouquets. A beautiful picture for an artist and an artistic chronicle of sporting success. Still life story.
Today I was at an exhibition at the National Ukrainian Museum of Modern Art.
I liked a lot. I'm sharing.
Victor Tolochko
1922-2006, Yalta
"Spring still life", 1985
oil, canvas.
Victor Tolochko
"Still life with a white teapot", 1993
oil, canvas
/Born in Melitopol, WWII participant, studied in Kharkov. He headed the Art Museum in Yalta, which at that time occupied the halls of the Vorontsov Palace. Then he moved to Donetsk. In his declining years he returned to Crimea. He painted still lifes, landscapes, portraits. People's Artist Ukraine/.
Ibrahim Litinsky
1908-1958, Kyiv
"Still life with peons on the piano", 1958
oil, canvas
/Litinsky Ibrahim Moiseevich (1908 - 1958) - Ukrainian artist, portrait painter, master of political and film posters. He graduated from the Kyiv Art and Industrial School, after which he studied at the Kiev art institute at the theater and film department (1927 - 1928). He painted portraits of prominent people - Stalin, Panas Saksagansky, Ivan Patorzhinsky, Natalia Uzhviy, Gnat Yura. The artist's works are in various private collections/(With)
Nina Dragomirova
1926
"Still Life with Vegetables", 1971
/Ukrainian artist, painter. Graduated from Crimean University named after. N. Samokisha (1952). Member of the National Union of Artists since 1970. Master of landscape and still life. The works are in numerous private collections in Ukraine.(c)/
Sergei Shapovalov
1943, Kirovograd
"Still life". 1998
Oil, canvas
/ Graduated from the Kyiv State Art Institute. Member of the Union of Artists of Ukraine. Honored Artist of Ukraine (2008). A significant part of the artist’s works are in traveling art exhibitions in the Ministries of Culture and in museums of Ukraine. Many of the artist’s works are in private collections. He took part in foreign commercial exhibitions ("New York. Inter-Expo 2002" (USA), "Russian House" in Berlin (Germany). In 2004, the artist had a personal exhibition in Guadalajara (Spain) (c)/.
Fedor Zakharov
1919-1994, Yalta
"Lilac", 1982
oil, canvas
/Outstanding painter, master of landscape and still life. Born in the village. Aleksandrovskoye, Smolensk region. In 1935 - 1941 he studied at the Art and Industrial School named after. M. Kalinin in Moscow, in 1943 - 1950 - at the Moscow Art Institute. V. Surikov with A. Lentulov, I. Chekmasov and G. Ryazhsky. In 1950 he moved to Simferopol, where he taught at the Art School. N. Samokisha. In 1953 he settled in Yalta. Honored Artist of the Ukrainian SSR since 1970, People's Artist of the Ukrainian SSR since 1978.
Laureate of the State Prize of the Ukrainian SSR named after. T. Shevchenko (1987). Memorial exhibitions of the artist were held at the State Tretyakov Gallery (2003), in Simferopol (2004) and Kyiv (2005). The works are stored in the State Tretyakov Gallery, the National Art Museum of Ukraine, the Feodosia Art Gallery named after. I. Aivazovsky, Simferopol, Sevastopol art museums, etc. (c)/
Sergey Dupliy
1958, Kyiv
"Phloxes", 2003
oil, canvas
/Born in 1958 in the village of Sidorovka, Cherkasy region.
The work of I. Grabar, N. Glushchenko and F. Zakharov had a great influence on his development as an artist.
Member of the National Union of Artists of Ukraine since 2000. Lives and works in Rzhishchev.(c)/
Valntina Tsvetkova
1917-2007, Yalta
"Autumn Flowers", 1958
oil, canvas
/Ukrainian and Russian painter, master of landscape and still life. Born in Astrakhan, Russia. Graduated from Astrakhan in 1935 art school. She was awarded orders and medals. People's Artist of Ukraine since 1985. Lived and worked in Yalta.(c)/
Stepan Titko
1941-2008, Lviv
"Still Life", 1968
oil, canvas
/Born in the village of Stilskoye, Lviv region.
In 1949, the artist’s family was repressed and exiled to the Khabarovsk Territory. In 1959, Stepan Titko graduated from school and entered the art and graphic department of the Khabarovsk State Printing Institute, and in 1961 - the Khabarovsk Art Institute. Since 1964 he lived in Komsomolsk-on-Amur and worked as a graphic designer at the Institute of Cosmonautics. In 1966, together with his family, the artist returned to Ukraine, settled in the city of Novy Rozdol, Lviv region, and worked as an art teacher at school. From 1969 to 1971 Titko S.I. is on a creative trip to Japanese island Sakyu.
In 1974 he participated in the “bulldozer exhibition”. He was accused of formalism and a pro-Western attitude towards art.
Works by Titko S.I. are stored in museum and private collections in Ukraine, Poland, Germany, France, the USA and other countries.(c)/
Konstantin Filatov
1926-2006, Odessa
"Still Life with a Cup", 1970
cardboard, oil
Konstantin Filatov
1926-2006, Odessa
"Eggplants and Peppers", 1965
canvas on cardboard, oil
/Honored Artist of Ukraine. Born in Kyiv.
In 1955 he graduated from the Odessa Art School named after M.B. Grekov. Since 1957 - participant of republican, all-Union and foreign art exhibitions. Member of the Union of Artists of the Ukrainian SSR since 1960.
Worked in the area easel painting. Author of numerous genre paintings, landscapes, portraits and still lifes.
From 1970 to 1974 - teacher at the Odessa Art School.
In 1972 he became a laureate of the State Prize of the Ukrainian SSR. T. Shevchenko for the paintings “Red Square” and “V. I. Lenin." In 1974 he was awarded the title "Honored Artist of the Ukrainian SSR".
Works by K.V. Filatov's works are represented in museums and private collections in Ukraine and abroad. (With)/
Pavel Miroshnichenko (I really like this work!)
1920-2005, Sevastopol
"Still Life", 1992
oil, canvas
/Honored Artist of Ukraine. Landscape painter, master of still life. Born in Belovodsk, Lugansk region.
Member of the Great Patriotic War. Awarded orders and medals.
From 1946 to 1951 he studied at the Crimean Art School named after. N. S. Samokisha. Since 1951, the artist lived and worked in Sevastopol.
Since 1965 Miroshnichenko P.P. - Member of the Union of Artists of Ukraine.
The works are in the Sevastopol Art Museum. M. P. Kroshitsky and other museum and private collections in Ukraine, Russia, France, Germany, Japan, USA, Poland and the Czech Republic. Five seascapes were purchased for the Museum of Russian Art in Japan.(c)/
Gayane Atoyan
1959, Kyiv
"Cornflowers", 2001
oil, canvas
/In 1983 she graduated from the Kiev State Art Institute. He considers his mother, an artist, to be his main teacher. Tatiana Yablonskaya. Since 1982 he has taken part in art exhibitions.
In 1986 she was admitted to the Union of Artists of Ukraine.
Gayane Atoyan's works are in art museums in Kyiv, Zaporozhye, Khmelnitsky, in private collections in Ukraine and abroad.(c)/
Evgeny Egorov
1917-2005, Kharkov
"Roses", 1995
paper, pastel
/Worked at the Kharkov Art and Industry Institute (now KhSADI) from 1949 to 2000. (from 1972 to 1985 - rector)/.
Sergey Shurov
1883-1961, Kyiv
"Still Life", 1950s
Paper, watercolor
Igor Kotkov
1961, Kyiv
"Still life with red flowers" 1990
oil, canvas
/Graduated from the Kyiv Republican Art School, then from the Art Academy in Kyiv. He worked as a production designer at the UkrAnimafilm film studio, creating cartoons for adults. Gradually the artist developed his own style of writing, his own creative style. Now painting is favorite activity and his life's work. His creative arsenal includes several dozen works in private collections in Ukraine, Russia, Germany, Great Britain, the USA, Canada, two personal exhibitions in Kyiv and participation in many other exhibitions.(c)/
Vladimir Mikita (class!)
1931, Transcarpathia
"Hutsul still life", 2002
canvas, mixed media
/People's Artist of Ukraine.
Born in the village of Rakoshino, Mukachevo district, Transcarpathian region. Nationality - Rusyn.
In 1947, after the 9th grade, he passed the exams at the Uzhgorod School applied arts and was accepted into the 3rd year.
From 1951 to 1954 he was in the ranks Soviet army on the island of Sakhalin. After the army, he was hired by the Art and Production Workshops of the Transcarpathian Art Fund, where he worked until his retirement in 2001.
In 1962 he was admitted to the Union of Artists of Ukraine. In 2005 - laureate National Award Ukraine named after. Taras Shevchenko.
Awarded the Order of Yaroslav the Wise V and IV degrees. Since 2010 - Honorary Citizen of Uzhgorod.
The artist’s works are in the collections of the Ministries of Culture of Ukraine and Russia, in various art museums, including foreign ones: Lithuania, Slovakia, Germany, Hungary, Serbia, Venezuela and in private collections around the world.(c)/
Anastasia Kalyuzhnaya(I really like it too)
1984, Kerch
"Still Life" 2006
oil, canvas
/Anastasia Kalyuzhnaya graduated from the National Academy fine arts Ukraine, Roman Serdyuk Art School. The rich experience of the school of Ukrainian painting served as the basis for the development of the artist. Now she works in Kerch in a realistic painting style. (c)/
Mikhail Roskin
1923-1998, Uzhgorod
"Crystal vase with flowers", 1990
paper, pastel
/Born in Nikopol, Dnepropetrovsk region. He received artistic and professional training at the Studio of Military Artists named after. M. B. Grekova. Member of the National Union of Artists of Ukraine since 1978 (c)/
Elena Yablonskaya
1918-2009, Kyiv
"Scented tobacco on the window", 1945
cardboard, oil
/Sister of the artist Tatyana Yablonskaya. Wife of a distinguished Ukrainian artist E.V. Volobueva.
In 1941 she graduated from the Kiev State Art Institute. In 1945 she was awarded the Medal "For Valiant Labor in the Great Patriotic War of 1941-1945."
Member of the Union of Artists of the USSR since 1944.
Master of easel painting and book graphics. For twenty years Elena Nilovna illustrated books. Several generations of children grew up on her work. The artist led and pedagogical activity— taught graphic artists and sculptors.
In 1977 he was awarded the title “Honored Artist of Ukraine”.
Works by E.N. Yablonskaya are presented in the National Art Museum of Ukraine, in museums, galleries and private collections in Ukraine, Germany, England, the USA and other countries.(c)/
Oksana Pilipchuk
1977, Kyiv
"Still Life", 2001
oil, canvas
/Pilipchuk Oksana Dmitrievna - artist-painter, member of the National Union of Artists of Ukraine, teacher at the Kyiv National University of Civil Engineering and Architecture (department of drawing and painting).
The works are kept in many Ukrainian museums, as well as private collections in Ukraine, Belarus, Russia, Holland, USA, Japan, Slovakia, Czech Republic, Poland, Germany, Israel, France./
Evgeny Smirnov
1959, Sevastopol
"Still life with green pears", 2000
oil, canvas
/Born in Rybinsk, Yaroslavl region, Russia. From 1975 to 1979 studied at the painting department of the Saratov Art School. Bogolyubova. Upon completion of his studies, Evgeny Smirnov moves to Sevastopol.
In 1993 he joined the National Union of Artists of Ukraine. Since 2005 - Honored Artist of Ukraine.
The artist's works are in the Sevastopol Art Museum. M.P. Kroshitsky and in other museum and private collections in Ukraine, Russia, Germany and other countries./
Vera Chursina
1949, Kharkov
"Evening still life", 2005
oil, canvas
/Graphic artist, painter.
Born in the village. Borisovka, Belgorod region, Russia.
In 1972 she graduated from the Oryol State Pedagogical Institute - art and graphic department.
In 1980 she defended her diploma at the Kharkov Art and Industry Institute, specializing in easel graphics. Honored Artist of Ukraine, member of the Kharkov branch of the National Union of Artists of Ukraine, teacher of the Kharkov State Academy of Design and Arts, professor of the department of painting.
Takes part in international, all-Ukrainian and regional exhibitions.
Since 1992 - member of the Economic Union of the National Union of Artists of Ukraine.(c)/
Vladimir Kuznetsov
1924-1998, Kharkov
"Still Life", 1992
oil, cardboard
/ Graduated from the Kharkov Institute of Arts (1954), taught there. A regular participant in city, regional and regional exhibitions since 1954. The artist’s works are in many regional museums and in private collections in Russia and abroad./
Alexander Gromovoy
1958
"Still Life", 2011
oil, canvas
/Born in the village of Krasnopolye, Nikolaev region.
In 1987 he graduated from Uzhgorod state university, in 1993 - art and graphic department of the Odessa Pedagogical Institute named after K.D. Ushinsky. Member of the National Union of Artists of Ukraine since 1995./
Azat Safin
1961, Kharkov
"Still Life" 2003
oil, canvas
Anna Fainerman
1922-1991, Kyiv
"Still Life with Rowan", 1966
cardboard, oil
/Born in the village of Uspenskaya, Beloglinsky district, Krasnodar region of Russia. In 1941 she graduated from art high school them. T. G. Shevchenko. After graduating from the Faculty of Journalism of the Ural University in 1945, she entered the Kiev Art Institute, which she graduated in 1951.
While studying at the institute, she worked as a literary employee and proofreader at the Soviet Ukraine publishing house.
The wife of the famous Ukrainian artist Rapoport Boris Naumovich.
Member of the Union of Artists of the Ukrainian SSR since 1955. The works are stored in museums, galleries and private collections in Ukraine and abroad./
Adalbert Marton
1913-2005, Uzhgorod
Still life, 1969
paper, passel
/Ukrainian-Hungarian painter. Master of Transcarpathian landscape and still life.
Born in Clairton, USA. In 1936 he graduated from the art and industrial school in Gablonc, Czechoslovakia.
Since 1937 he lived and worked in Uzhgorod. Since 1957, he has participated in regional, republican, all-Union and international exhibitions. The artist’s works are in museums, galleries and private collections in Ukraine, Russia, Hungary, the USA, Canada and Japan. In 1972, the artist moved to Hungary, where he died in 2005. (c)/
Alexander Sheremet
1950, Kyiv
"Still Life", 2001
oil, canvas
Konstantin-Vadim Ignatov
1934, Kyiv
"Tea Ceremony" 1972
tempera canvas
/Born in Kharkov (Ukraine). Studied at art school city of Kyiv, also studied at the Kiev State Art Institute.
IN Soviet era had a reputation as an outstanding illustrator and worked at the Veselka publishing house for about 30 years, where he illustrated more than 100 books. Member of the National Union of Artists of Ukraine./
Lesya Pryimych
1968
"Holy Evening", 2013
oil, canvas
/Born in Uzhgorod, Transcarpathian region.
Graduated from Lviv State Institute of Applied and decorative arts(1992). Painter. Member of the National Union of Artists (2006)./
Andrey Zvezdov
1963-1996, Kyiv
Still life with autumn leaves" 1991
oil, cardboard
Karl Zvirinsky
1923-1997
"Still Life", 1965
Zoya Orlova
1981, Kyiv
Still life", 2004
cardboard, mixed media
Oleg Omelchenko
1980
"Still Life with a Clock", 2010
oil, canvas
Nikolay Kristopchuk
1934, Lviv
"Kosovo still life", 1983
oil, canvas
Boris Kolesnik
1927-1992, Kharkov
"Still Life", 1970
cardboard, oil
/Born in the village. Vilshany, Kharkov region.
In 1943-1949 studied at the Kharkov State Art School, in 1949-1955. - at the Kharkov State Art Institute.
In 1965 he joined the Union of Artists of the Ukrainian SSR.
Author of genre lyrical paintings, revealing the life and traditions of the Ukrainian people.
Works by Kolesnik B.A. are kept in the Museum of Russian Art in Kyiv, in art museums of Kharkov and other cities of Ukraine and the former USSR./
Konstantin Lomykin
1924-1993, Odessa
"Pears", 1980
cardboard, pastel
/Painter, graphic artist. People's Artist of Ukraine.
Born in Glukhov, Sumy region. In 1951 he graduated from the Odessa Art School. Member of the Odessa organization of the Union of Artists of the Ukrainian SSR since 1953.
Author of thematic paintings and works everyday genre, landscapes and still lifes.
Honored Artist of the Ukrainian SSR.
The artist’s works are in art museums of Ukraine, as well as in private collections in Ukraine, Russia, Japan, France, Greece, Germany, Italy, Portugal and other countries./
Alexander Khmelnitsky
1924-1998, Kharkov
"Still Life with a Red Hat"
oil, canvas
/Born in Kharkov.
Participated in hostilities during the Great Patriotic War.
From 1947 to 1953 he studied at the Kharkov State Art Institute, then taught at the Kharkov State Art Institute (Kharkov Art and Industrial Institute), with1978 - professor
In 1956, he was accepted as a member of the Kharkov organization of the Union of Artists of Ukraine, and was the chairman of the painting section.
In 1974, he participated in the creation of the diorama “Forcing the Dnieper” in collaboration with A. Konstantinopolsky, V. Mokrozhitsky, V. Parchevsky for the Museum of the Great Patriotic War in Kyiv.
People's Artist of Ukraine. He has been a corresponding member of the Ukrainian Academy of Arts since 1997.
The artist’s works are in museums, galleries, private collections in Ukraine and abroad./
Vladimir Boguslavsky
1954, Lvov
"Bronze Jug", 2005
oil, canvas
Hope you enjoyed it.
Thank you for your attention!
Let's move on to the final stage of this series of posts about the still life genre. It will be dedicated to the work of Russian artists.
Let's start with Fyodor Petrovich Tolstoy (1783-1873). Still life graphics by F.P. Tolstoy, a famous Russian sculptor, medalist, draftsman and painter, is probably the most outstanding and valuable part of his creative heritage, although the artist himself said that he created these works “in his free time from serious studies.”
The main property of Tolstoy’s still life drawings is their illusory nature. The artist carefully copied nature. He tried, in his own words, “with strict clarity to convey from life to paper the copied flower as it is, with all the slightest details belonging to this flower.” To mislead the viewer, Tolstoy used illusionistic techniques such as the image of dew drops or translucent paper covering the drawing and helping to deceive the eye.
Ilya Efimofich Repin (1844-1930) also more than once turned to such a still life motif as flowers. Such works include the painting “Autumn Bouquet” (1892, Tretyakov Gallery, Moscow), where the artist depicts with equal attention autumn landscape, a young woman standing against a background of golden trees, and a modest bouquet of yellow and white flowers in her hands.
I. Repin. Autumn bouquet. Portrait of Vera Repina. 1892, Tretyakov Gallery
The history of the painting “Apples and Leaves” is somewhat unusual. The still life, combining fruits and leaves, was staged for Repin’s student, V.A. Serova. The teacher liked the object composition so much that he decided to paint such a still life himself. Flowers and fruits attracted many artists, who preferred these among other things, which most poetically and beautifully showed the natural world. Even I.N. Kramskoy, who disdained this genre, also paid tribute to still life, creating the spectacular painting “Bouquet of Flowers. Phloxes” (1884, Tretyakov Gallery, Moscow).
Valentin Aleksandrovich Serov (1865-1911) is known to most of us as an artist who paid attention in his work to landscape, portrait and historical painting. However, it should be noted that the subject in his work always played an important role and often occupied the same equal position as other elements of the composition. Just above, I already mentioned his student work “Apples on Leaves,” 1879, completed under the direction of Repin. If you compare this work with a work written on the same topic by Repin, you can see that Serov’s still life is more etude-like than his teacher’s painting. The novice artist used a low point of view, so the first and second plans are combined and the background is reduced.
The painting “Girl with Peaches,” known to everyone since childhood, goes beyond the portrait genre and it is no coincidence that it is called “Girl with Peaches” and not “Portrait of Vera Mamontova.” We can see that the features of portrait, interior and still life are combined here. The artist pays equal attention to the image of a girl in a pink blouse and a few but skillfully grouped objects. Pale yellow peaches lie on a white tablecloth, maple leaves and a shiny knife. Other things in the background are also lovingly painted: chairs, a large porcelain plate decorating the wall, a figurine of a toy soldier, a candlestick on the windowsill. The sunlight pouring from the window and casting bright reflections on objects gives the image a poetic charm.
Mikhail Aleksandrovich Vrubel (1856-1910) wrote: “And again it hits me, no, it doesn’t, but I hear that intimate national note that I so want to catch on the canvas and in the ornament. This is the music of a whole person, not dismembered by the distractions of the ordered, differentiated and pale West.”
At the Academy of Arts, Vrubel’s favorite teacher was Pavel Chistyakov, who taught the young painter to “paint with form” and argued that volumetric forms They should not be created in space with shading and contours, they should be built with lines. Thanks to him, Vrubel learned not just to show nature, but to conduct an intimate, almost loving conversation with her. The master’s wonderful still life “Rose Hip” (1884) was made in this spirit.
Against the background of exquisite drapery with floral motifs, the artist placed an elegant round vase painted with oriental patterns. The delicate white flower rose hips, shaded by blue-green fabric, and the leaves of the plant almost merge with the dimly shimmering black neck of the vase. This composition is filled with inexpressible charm and freshness, which the viewer simply cannot help but succumb to.
During his illness, Vrubel began to paint more from life, and his drawings are distinguished not only by their precise form, but also by their very special spirituality. It seems that every movement of the artist’s hand betrays his suffering and passion.
Particularly noteworthy in this regard is the drawing “Still Life. Candlestick, decanter, glass.” It is a crushing triumph of fierce objectivity. Each still life object carries a hidden explosive force. The material from which things are made, be it the bronze of a candlestick, the glass of a decanter or the matte reflection of a candle, visibly trembles from colossal internal tension. The pulsation is conveyed by the artist with short intersecting strokes, which is why the texture acquires explosiveness and tension. Thus, objects acquire an incredible sharpness, which is what true essence things
.
G.N. achieved great skill in creating “fake” still lifes. Teplov and T. Ulyanov. Most often they depicted a plank wall on which knots and veins of wood were drawn. Various objects were hung on the walls or tucked behind nailed ribbons: scissors, combs, letters, books, music notebooks. Clocks, inkwells, bottles, candlesticks, dishes and other small items are placed on narrow shelves. It seems that such a set of items is completely random, but in fact this is far from the case. Looking at such still lifes, one can guess the interests of artists who played music, read, and were interested in art. The masters lovingly and diligently depicted things dear to them. These paintings touch with their sincerity and spontaneity of perception of nature.
Boris Mikhailovich Kustodiev (1878-1927) also devoted a lot of his work to the still life genre. On his cheerful canvases you can see bright satin fabrics, sparkling copper samovars, the shine of earthenware and porcelain, red slices of watermelon, bunches of grapes, apples, and delicious cupcakes. One of his remarkable paintings is “Merchant's Wife at Tea”, 1918. It is impossible not to admire the bright splendor of the objects shown on the canvas. A sparkling samovar, bright red pulp of watermelons, glossy apples and transparent grapes, a glass vase with jam, a gilded sugar bowl and a cup standing in front of the merchant’s wife - all these things add a festive mood to the image.
In the genre of still life great attention was devoted to the so-called “trick still lifes”. Many “trick” still lifes, despite the fact that their main task was to mislead the viewer, have undoubted artistic merits, especially noticeable in museums, where, hung on the walls, such compositions, of course, cannot deceive the public. But there are exceptions here. For example, “Still Life with Books”, made by P.G. Bogomolov, is inserted into an illusory “bookcase”, and visitors do not immediately realize that it is just a painting.
“Still Life with a Parrot” (1737) by G.N. is very good. Teplova. With the help of clear, precise lines turning into soft, smooth contours, light, transparent shadows, and subtle color nuances, the artist shows a variety of objects hung on a plank wall. The wood is masterfully rendered, its bluish, pink, yellowish shades helping to create an almost real feeling of the fresh smell of freshly planed wood.
G.N. Teplov. “Still life with a parrot”, 1737, State Museum of Ceramics, Kuskovo estate
Russian “false” still lifes of the 18th century indicate that artists are not yet skillful enough in conveying space and volumes. It is more important for them to show the texture of objects, as if transferred to canvas from reality. Unlike Dutch still lifes, where things absorbed by the light environment are depicted in unity with it, in the paintings of Russian masters, objects painted very carefully, even meticulously, live as if by themselves, regardless of the surrounding space.
At the beginning of the 19th century, the school of A.G. played a major role in the further development of still life. Venetsianov, who opposed the strict distinction of genres and sought to teach his students a holistic vision of nature.
A.G. Venetsianov. Threshing floor, 1821-23
The Venetsian school opened a new genre for Russian art - interior design. The artists showed various rooms of a noble house: living rooms, bedrooms, offices, kitchens, classrooms, servants' rooms, etc. In these works, an important place was given to the depiction of various objects, although still life itself was of almost no interest to representatives of Venetsianov’s circle (in any case, very few still lifes made by students of famous painter). Nevertheless, Venetsianov urged his students to carefully study not only the faces and figures of people, but also the things around them.
An object in Venetsianov’s painting is not an accessory; it is inextricably linked with the rest of the details of the picture and is often the key to understanding the image. For example, a similar function is performed by sickles in the painting “The Reapers” (second half of the 1820s, Russian Museum, St. Petersburg). Things in Venetian art seem to be involved in the unhurried and serene life of the characters.
Although Venetsianov, in all likelihood, did not paint still lifes himself, he included this genre in his teaching system. The artist wrote: “ Inanimate things are not subject to those various changes that are characteristic of animate objects; they stand, hold themselves at attention, motionless in front of an inexperienced artist and give him time to delve more accurately and more judiciously, to peer into the relationship of one part to another, both in lines and in light and shadow with the color itself , which depend on the space occupied by objects”.
Of course, still life also played a big role in the pedagogical system of the Academy of Arts in the 18th-19th centuries (in classrooms, students made copies of still lifes by Dutch masters), but it was Venetsianov, who encouraged young artists to turn to nature, who introduced still life into his first-year curriculum, composed of such things as plaster figures, dishes, candlesticks, colorful ribbons, fruits and flowers. Venetsianov selected objects for educational still lifes so that they would be interesting to beginning painters, understandable in form, and beautiful in color.
In the paintings created by Venetsianov’s talented students, things are conveyed truthfully and freshly. These are the still lifes of K. Zelentsov, P.E. Kornilov. In the work of the Venetian artists there are also works that are not still lifes in their essence, but, nevertheless, the role of things in them is enormous. One can name, for example, the paintings “Office in Ostrovki” and “Reflection in the Mirror” by G.V. Magpies kept in the collection of the Russian Museum in St. Petersburg.
G.V. Magpie. “Office in Ostrovki.” Fragment, 1844, Russian Museum, St. Petersburg
Still lifes in these works do not appear independently, but as parts of the interior uniquely arranged by the master, corresponding to the general compositional and emotional structure of the picture. The main connecting element here is light, gently moving from one object to another. Looking at the canvases, you understand how interesting the world around the artist is, who lovingly depicted every object, every smallest thing.
The still life presented in the “Office in Ostrovki”, although it occupies a small place in the overall composition, seems unusually significant, highlighted due to the fact that the author fenced it off from the rest of the space with a high back of the sofa, and cut it off on the left and right with a frame. It seems that Soroka was so carried away by the objects lying on the table that he almost forgot about the other details of the picture. The master carefully wrote out everything: a quill pen, a pencil, a compass, a protractor, a penknife, an abacus, sheets of paper, a candle in a candlestick. The point of view from above allows you to see all things, without any of them blocking the other. Attributes such as a skull, a watch, as well as symbols of “earthly vanity” (a figurine, papers, abacus) allow some researchers to classify the still life as a vanitas type, although such a coincidence is purely accidental; most likely, the serf artist took advantage of what was lying on the table his owner.
A famous master of object compositions of the first half of the 19th century was the artist I.F. Khrutsky, who painted many beautiful paintings in the spirit of the Dutch still life XVII century. Among his best works are “Flowers and Fruits” (1836, Tretyakov Gallery, Moscow), “Portrait of a Wife with Flowers and Fruits” (1838, Art Museum of Belarus, Minsk), “Still Life” (1839, Museum of the Academy of Arts, St. Petersburg).
In the first half of the 19th century, “botanical still life”, which came to us from Western Europe, was very popular in Russia. In France at this time, works by botanists were published. beautiful illustrations. The artist P.Zh. became very famous in many European countries. Redoute, who was considered “the most famous flower painter of his time.” “Botanical drawing” was a significant phenomenon not only for science, but also for art and culture. Such drawings were presented as gifts and decorated albums, which thus put them on a par with other works of painting and graphics.
In the second half of the 19th century, P.A. paid great attention to the depiction of objects. Fedotov. Although he did not actually paint still lifes, the world of things he created delights with its beauty and truthfulness.
Objects in Fedotov’s works are inseparable from people’s lives; they take a direct part in the dramatic events depicted by the artist.
Looking at the picture “ Fresh gentleman” (“Morning after the feast”, 1846), you are amazed at the abundance of objects carefully painted by the master. A real still life, surprising in its laconicism, is presented in Fedotov’s famous painting “The Major’s Matchmaking” (1848). The glass is tangibly and realistically conveyed: wine glasses with high stems, a bottle, a decanter. The thinnest and most transparent, it seems to emit a gentle crystal ringing.
Fedotov P.A. Major's matchmaking. 1848-1849. Tretyakov Gallery
Fedotov does not separate objects from the interior, so things are shown not only authentically, but also in a picturesque subtlety. Every ordinary or not very attractive object that takes its place in the common space seems surprising and beautiful.
Although Fedotov did not paint still lifes, he showed an undoubted interest in this genre. His instinct told him how to arrange this or that object, from what point of view to present it, what things would look next to him not only logically, but also expressively.
The world of things, which helps to show human life in all its manifestations, endows Fedotov’s works with a special musicality. Such are the paintings “Anchor, another anchor” (1851-1852), “Widow” (1852) and many others.
In the second half of the 19th century, the genre of still life practically ceased to interest artists, although many genre painters willingly included elements of still life in their compositions. Things acquire great importance in the paintings of V.G. Perova (“Tea Party in Mytishchi”, 1862, Tretyakov Gallery, Moscow), L.I. Solomatkina (“City Slavers”, 1846, State historical museum, Moscow).
Still lifes are presented in genre scenes by A.L. Yushanova (“Seeing Off the Chief”, 1864), M.K. Klodt (“The Sick Musician”, 1855), V.I. Jacobi (“The Pedlar”, 1858), A.I. Korzukhina (“Before Confession”, 1877; “In the monastery hotel”, 1882), K.E. Makovsky (“Alekseich”, 1882). All these paintings are now kept in the collection of the Tretyakov Gallery.
K.E. Makovsky. “Alekseich”, 1882, Tretyakov Gallery, Moscow
In the 1870-1880s, everyday life remained the leading genre in Russian painting, although landscape and portrait also occupied an important place. Huge role for further development Russian art was played by the Peredvizhniki, who sought to show the truth of life in their works. Artists began to attach great value working from life and therefore increasingly turned to landscape and still life, although many of them considered the latter a waste of time, a meaningless passion for form, devoid of internal content. So, I.N. Kramskoy mentioned the famous French painter, who did not neglect still lifes, in a letter to V.M. Vasnetsov: “A talented person will not waste time on depicting, say, basins, fish, etc. This is good for people who already have everything, but we have a lot to do.”
Nevertheless, many Russian artists who did not paint still lifes admired them when looking at the paintings of Western masters. For example, V.D. Polenov, who was in France, wrote to I.N. Kramskoy: “Look how things go here, like clockwork, everyone works in their own way, in the most various directions, what anyone likes, and all this is valued and paid for. For us, what matters most is what is done, but here it is how it is done. For example, for a copper basin with two fish they pay twenty thousand francs, and in addition they consider this coppersmith to be the first painter, and, perhaps, not without reason.”
Having visited the exhibition in Paris in 1883, V.I. Surikov admired landscapes, still lifes and paintings of flowers. He wrote: “Gibert’s fish are good. The fish slime is rendered masterfully, colorfully, mixing tone on tone.” There is in his letter to P.M. Tretyakov and these words: “And Gilbert’s fish are such a miracle. Well, you can really take it in your hands, it’s written to the point of deception.”
Both Polenov and Surikov could become excellent masters of still life, as evidenced by the masterfully painted objects in their compositions (“Sick” by Polenov, “Menshikov in Berezov” by Surikov).
V.D. Polenov. “Sick Woman”, 1886, Tretyakov Gallery
Most of the still lifes created by famous Russian artists in the 1870-1880s are works of a sketch nature, showing the authors’ desire to convey the features of things. Some similar works depict unusual, rare objects (for example, a sketch with a still life for I.E. Repin’s painting “Cossacks writing a letter to the Turkish Sultan”, 1891). Independent meaning such works did not exist.
Interesting still lifes by A.D. Litovchenko, executed as preparatory studies for the large canvas “Ivan the Terrible Shows His Treasures to Ambassador Horsey” (1875, Russian Museum, St. Petersburg). The artist showed luxurious brocade fabrics, weapons inlaid with precious stones, gold and silver items stored in the royal treasuries.
More rare at that time were still life sketches representing ordinary household objects. Such works were created with the aim of studying the structure of things, and were also the result of exercises in painting technique.
Still life played an important role not only in the genre, but also in portrait painting. For example, in the film by I.N. Kramskoy “Nekrasov during the period of “The Last Songs” (1877-1878, Tretyakov Gallery, Moscow) objects serve as accessories. S.N. Goldstein, who studied Kramskoy’s work, writes: “In search of the overall composition of the work, he strives to ensure that the interior he recreates, despite its strictly everyday nature, contributes, first of all, to the awareness of the spiritual appearance of the poet, the unfading meaning of his poetry. And indeed, the individual accessories of this interior - the volumes of Sovremennik, randomly laid out on the table by the patient's bedside, a sheet of paper and a pencil in his weakened hands, a bust of Belinsky, a portrait of Dobrolyubov hanging on the wall - in this work acquired the meaning of not external signs of the situation, but relics closely associated with the image of a person.”
Among the few still lifes of the Wanderers, the main place is occupied by “bouquets”. Interesting is “Bouquet” by V.D. Polenov (1880, Abramtsevo Estate Museum), in the manner of execution is a little reminiscent of still lifes by I.E. Repina. Unpretentious in its motif (small wildflowers in a simple glass vase), it nevertheless delights with its free-form painting. In the second half of the 1880s, similar bouquets appeared in the paintings of I.I. Levitan.
I.N. shows flowers to the viewer differently. Kramskoy. Many researchers believe that the two paintings are “Bouquet of Flowers. Phloxes” (1884, Tretyakov Gallery, Moscow) and “Roses” (1884, collection of R.K. Viktorova, Moscow) were created by the master while working on the canvas “Inconsolable Grief”.
Kramskoy demonstrated two “bouquets” at the XII Mobile Exhibition. Spectacular, bright compositions depicting garden flowers on a dark background found buyers even before the opening of the exhibition. The owners of these works were Baron G.O. Gintsburg and the Empress.
At the IX Traveling Exhibition of 1881-1882, the public’s attention was attracted by the painting by K.E. Makovsky, named in the catalog “Nature morte” (now it is in the Tretyakov Gallery under the name “In the artist’s studio”). The large canvas depicts a huge dog lying on the carpet and a child reaching from an armchair to fruit on the table. But these figures are just details that the author needs in order to revive the still life - many luxurious things in the artist’s studio. Painted in the traditions of Flemish art, Makovsky’s painting still touches the viewer’s soul. The artist, carried away by conveying the beauty of expensive things, failed to show their individuality and created a work whose main purpose is to demonstrate wealth and luxury.
All the objects in the picture seem to be collected in order to amaze the viewer with their splendor. On the table lies a traditional still life set of fruits - large apples, pears and grapes on a large beautiful dish. There is also a large silver mug decorated with ornaments. Nearby stands a blue and white earthenware vessel, next to which is a richly decorated ancient weapon. The fact that this is an artist’s studio is reminded by the brushes placed in a wide jug on the floor. The gilded chair has a sword in a luxurious sheath. The floor is covered with a carpet with bright patterns. Expensive fabrics are also used as decoration - brocade trimmed with thick fur, and velvet from which the curtain is sewn. The color of the canvas is designed in rich shades with a predominance of scarlet, blue, and gold.
From all of the above it is clear that in the second half of the 19th century still life did not play significant role in Russian painting. It was distributed only as a study for a painting or a teaching study. Many artists who performed still lifes as part of the academic program never returned to this genre in their independent work. Still lifes were painted mainly by non-professionals who created watercolors with flowers, berries, fruits, and mushrooms. Major masters did not consider still life worthy of attention and used objects only to convincingly show the situation and decorate the image.
The first beginnings of a new still life can be found in the paintings of artists who worked at the turn of the 19th-20th centuries: I.I. Levitan, I.E. Grabar, V.E. Borisova-Musatova, M.F. Larionova, K.A. Korovina. It was at that time that still life appeared in Russian art as an independent genre.
But this was a very unique still life, understood by artists who worked in an impressionistic manner, not as an ordinary closed subject composition. The masters depicted the details of a still life in a landscape or interior, and what was important to them was not so much the life of things as the space itself, a haze of light that dissolves the outlines of objects. Of great interest are also the graphic still lifes of M.A. Vrubel, distinguished by their unique originality.
At the beginning of the 20th century, artists such as A.Ya. played a major role in the development of Russian still life. Golovin, S.Yu. Sudeikin, A.F. Gausch, B.I. Anisfeld, I.S. Schoolboy. N.N. also said a new word in this genre. Sapunov, who created a whole series paintings-panels with bouquets of flowers.
In the 1900s, many artists turned to still life different directions. Among them were the so-called. Moscow Cézanneists, symbolists (P.V. Kuznetsov, K.S. Petrov-Vodkin), etc. Object compositions occupied an important place in the works of such famous masters, as M.F. Larionov, N.S. Goncharova, A.V. Lentulov, R.R. Falk, P.P. Konchalovsky, A.V. Shevchenko, D.P. Shterenberg, who made still life a full-fledged one among other genres in Russian painting of the 20th century.
Just listing Russian artists who used elements of still life in their work would take up a lot of space. Therefore, we will limit ourselves to the material presented here. Those interested can learn more about the links provided in the first part of this series of posts about the still life genre.
Previous Posts: Part 1 –
Part 2 –
Part 3 –
Part 4 –
Part 5 –