Russian fine art of the 20th century. Russian fine art of the 20th century

30.10.2021 | Cell phones

By the end of the 19th century, the realistic direction in art began to lose ground. At the turn of the century, the Art Nouveau style began to dominate. It is characterized by ornate lines, biomorphic motifs, and the use of new materials and technologies.

The painting reveals decorative conventions, carpet ornamentation, and clear, almost sculptural images.

A prominent representative of the Art Nouveau style was M. A. Vrubel (1856–1910), whose art acted under the motto “everything is decorative.” “Demon” is the defining image in Vrubel’s work. In his image there is no desire to conquer his own doubts, but only despondency and hopelessness. Vrubel painted many portraits, one of them is of the entrepreneur and philanthropist Mamontov. The artist expressed fabulousness and otherworldliness in his works “Pan”, “The Swan Princess” and other mythical images.

Vrubel used in his work different techniques, sometimes mixing genres and types of art. He also dabbled in sculpture and drawing. Participated in monumental paintings of the Church of the Savior on Spilled Blood in St. Petersburg.

The idea of “pure art” gave rise to the appearance of the magazine “World of Art”. This magazine became the center of artistic life in the pre-revolutionary period.

The artists who united around the “World of Art” encouraged the study of Russian history, aroused interest in artists of the 18th century, and developed museum activities. They contributed to the development of illustration (I. Ya. Bilibin (1876–1942), K. A. Somov (1869-1939)) and theatrical and decorative art (L. S. Bakst (1866–1924), N. K. Roerich ( 1874–1947))

The revolutionary spirit directly influenced painting and graphics. The artist K. Yuon depicted the revolution on a cosmic scale in his work “New Planet”. The reflection of revolutionary reality in the eyes of artists can be observed in the works of K. S. Petrov-Vodkin “Death of a Commissar”, “1918 in Petrograd” and N. Kupriyanov “Armored Cars”.

In 1922, the Association of Artists of Revolutionary Russia was created. One of the outstanding representatives was Isaac Brodsky, who created the “canonical” works: “Lenin in Smolny” and “Lenin’s Speech at the Putilov Factory”.

“On the monuments of the republic” - Lenin’s decree of 1918, announcing the plan for agitating the masses with the help of monumental sculpture dedicated to figures of the revolution and culture (the “Monumental Propaganda” plan). Sculptors had to create a lot of works from cheap and accessible materials in a short time.

In 1920, Tatlin created the Tower of the Third International, symbolizing new art and revolutionary aspirations.

Ivan Shardr creates a series of sculptures of people of socialist labor: “Worker”, “Peasant”, “Red Army Soldier”, as well as a monument to Gorky for the Belorussky Station Square.

In the 20s, works by V. Mukhina appeared: the project “Liberated Labor”, “Peasant Woman”, “Worker and Collective Farm Woman” - a sculptural group that brought fame to the artist.

The opening of the All-Union Agricultural Exhibition in Moscow is a decisive step in the development of sculpture in the Soviet Union. S. T. Konenkov also participated in the sculptural design. In addition, he created sculptures, implementing the plan of “Monumental Propaganda”: the bas-relief “To those who fell in the struggle for peace and brotherhood of peoples”, “Stepan Razin”.

Socialist realism

At the First All-Union Congress of Soviet Writers in 1934, the basic rules of a new method of literature and art - socialist realism - were formulated. It was strict ideological control and propaganda designed to praise the heroes of socialist labor, revolutionaries, workers, and peasants. Plot work of art was obliged to reflect revolutionary reality, the desire for a bright future, and materialistic views.

B. Joganson’s painting “Interrogation of Communists” clearly conveys all the principles of socialist realism: significant emotions, integral images and monumental forms.

A. Deineka writes works on the topics of the construction of new architecture, sports and aviation: “Future pilots”, “On the construction of new workshops”, “In the Donbass”. Works on mosaics of the Mayakovskaya metro station (Moscow).

The famous “New Moscow” by Yu. Pimenov is a symbol of new life, the joy of change: the reconstruction of Moscow and the unusual role of women.

The Great Patriotic War

The Great Patriotic War significantly influenced the development of art. As in the revolutionary period, the main genre of fine art was the poster. Masters of the past worked on the posters, as well as young artists who became famous for such famous posters as “The Motherland is Calling!”, “For the Motherland!”, “Warrior of the Red Army, save!”.

To improve the quality of education in the subject area “History of Art”, original multimedia presentations have been prepared, which are developed taking into account federal state requirements for additional pre-professional general education program in the field of fine arts "Painting".Multimedia presentations are developed in accordance with the sections and topics of the curriculum of the subjects “Conversations about Art” and “History of Fine Arts”.

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Works of Vasily Grigorievich Perov

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2015-2017, 63 slides

Content: short biography artist V.G. Perova; heir and continuer of the work of P.A. Fedotova;

creativity of V.G. Perov: ridicule of clergy, the life of disadvantaged people, joyful subjects, portraits, historical, literary and religious subjects.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Textbook for the subject "History of Fine Arts", 4th grade Section 11. Russian art late XIX

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2015-2017, 63 slides

Content:– beginning of the 20th century.
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

brief biography and creativity of I.N. Kramskoy. Homework; list of used sources and literature. Association of traveling art exhibitions. Household and

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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2015-2017, 71 slides

Content: Association of Traveling Art Exhibitions; creativity of the Itinerant artists: G.G.
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

Myasoedova, K.A. Savitsky, I.M. Pryanishnikova, V.M. Maksimova, V.E. Makovsky, K.E. Makovsky, N.A. Yaroshenko, V.V. Pukireva, N.N. Ge, V.D. Polenova.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Landscape of the Wanderers

Content: 2015-2017, 80 slides
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

landscape of the Wanderers; creativity of landscape artists: A.K. Savrasova, I.I. Shishkina, V.D. Polenova, F.A. Vasilyeva, I.I. Levitan, I.K. Aivazovsky, A.I. Kuindzhi.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Works of Ilya Efimovich Repin

Content: 2015-2017, 102 slidesshort biography of the artist; I.E. Repin and the Abramtsevo circle of artists;
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

I.E. Repin and the Association of Itinerants; portraits, everyday and historical genres in the works of I.E. Repin; teaching activity I.E. Repin; I.E. Repin in Penates.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Works of Vasily Ivanovich Surikov

Content: 2015-2017, 137 slides
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

short biography of the artist; the origins of artistic images of V.I. Surikov; paintings of the Moscow Cathedral of Christ the Savior; IN AND. Surikov and the Association of Itinerants; historical genre and portrait in the works of V.I. Surikov; travels of the artist V.I. Surikov.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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The work of Viktor Mikhailovich Vasnetsov

Content: 2015-2017, 86 slides
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

short biography of the artist; trip V.M. Vasnetsov to Paris; V.M. Vasnetsov and the Association of Itinerants; everyday genre, portrait, historical and mythological genre, monumental painting in the works of V.M. Vasnetsova; theater artist and illustrator.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Turn of the century art

Content: 2015-2017, 106 slides general historical characteristics; Art Nouveau style; symbolism; decadence; genre painting in Russia turn of the XIX century
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

– XX centuries; artistic associations in Russia at the turn of the 19th – 20th centuries: “Abramtsevo Circle”, Talashkino, “World of Art”, “Union of Russian Artists”.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Creativity of K.A. Korovin and V.A. Serova

Content: 2015-2017, 107 slides
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

Russian impressionism; comparison of the works of K.A. Korovin and V.A. Serova; K.A. Korovin (brief biography of the artist, theater in his work, “Northern etudes”, portraits and still lifes); V.A. Serov (brief biography of the artist, portrait, landscape, illustrations and historical subjects in his work).

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Creativity of K.A. Korovin and V.A. Serova

Content: Works of Mikhail Alexandrovich Vrubel
reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

short biography of the artist M.A. Vrubel, creativity of the Kyiv period, creativity of the Moscow period, decorative and applied art in the work of M.A. Vrubel, “Fairytale realism” of painting by M.A. Vrubel, the theme of "The Demon", the last years of the artist's life.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Works of Nicholas Konstantinovich Roerich

Content: short biography of the artist N.K. Roerich, scientific and social activity N.K.

Roerich, creative method, theatrical and decorative works, painting by N.K. Roerich (series of paintings: “The Beginning of Rus'. Slavs”, “In the Old Time”, “Sancta”, “His Country”, “Banners of the East”, “Maitreya”, “Himalayas”, “Heroic Cycle”), Roerich movement.

"Riot of the Fourteen." Works of Ivan Nikolaevich Kramskoy
Section 11. Russian art of the late XIX – early XX centuries.

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Russian avant-garde

Content: 2015-2018, 177 slides .

reforms in the Imperial Academy of Arts; "Riot of the Fourteen"; "Artel of Artists";

changes in the art of the early 20th century, modernism in Russian art, the origins of the avant-garde, the main artistic movements of the Russian avant-garde (primitivism, cubo-futurism, abstract art, rayonism, suprematism, constructivism), art associations and major exhibitions of the Russian avant-garde ("Blue Rose", "Youth Union" ", "Jack of Diamonds", "Donkey's Tail", "Target", "The Last Cube-Futurist Exhibition of Paintings 0.10"), artists of the Russian avant-garde (K.S. Petrov-Vodkin, P.V. Kuznetsov, M.S. Saryan, N. Pirosmani, M.F. Goncharova, A.V. Lentulov, V.V. At the turn of the century, a style emerged that affected all plastic arts, starting, first of all, with architecture (in which eclecticism dominated for a long time) and ending with graphics, which was called the style modern . Art Nouveau style is new stage

in the synthesis of architecture, painting, decorative arts. Art Nouveau manifested itself in the following way: in sculpture – fluidity of forms, special expressiveness of the silhouette, dynamism of compositions; in painting - symbolism of images, passion for foreign tales. The emergence of modernity did not mean that the ideas of itinerant movement died by the end of the century. In the 90s, genre painting developed, but it developed somewhat differently than in the “classical” Peredvizhniki of the 70s and 80s. One of the most important artists and an innovator of Russian painting at the turn of the century was Valentin Aleksandrovich Serov (1865–1911).

. Serov often writes about representatives of the artistic intelligentsia: writers, actors, painters. But a special theme in Serov’s work is the peasant one. In his peasant genre there is no peredvizhniki social emphasis, but there is a feeling of the beauty and harmony of peasant life, admiration for the healthy beauty of the Russian person. Creative path Mikhail Alexandrovich Vrubel (1856–1910) was more direct, although also unusually complex. In the 90s, when the artist settled in Moscow, Vrubel’s writing style, full of mystery and almost demonic power, took shape. Color combinations do not reflect the reality of color relationships, but have. With Vrubel we are entering a new century, the era of the “Silver Age”, the last period of culture in St. Petersburg Russia

Victor Elpidiforovich Borisov-Musatov (1870–1905)– a direct exponent of pictorial symbolism and one of the first retrospectiveists in the fine arts of border Russia. His works are an elegiac sadness for the old empty “nests of the nobility” and the dying “cherry orchards”, according to beautiful women, spiritualized, almost unearthly, dressed in some kind of timeless costumes that do not bear external signs of place and time. Longing for bygone times made Borisov-Musatov related to artists from the World of Art- an organization that arose in St. Petersburg in 1898 and united masters of the highest artistic culture, the artistic elite of Russia of those years. Of great importance for the formation of this association was the personality of Diaghilev, a philanthropist and organizer of exhibitions, and subsequently an impresario of Russian ballet and opera tours abroad. When the last, fifth exhibition of the “World of Art” closed in March 1903, the last issue of the magazine “World of Art” was published in December 1904, most of the artists moved to the “Union of Russian Artists”, organized on the basis of the Moscow exhibition “36”. . In 1910, an attempt was made to once again breathe life into the “World of Art” (led by Roerich).

In 1903, as already mentioned, one of the largest exhibition associations of the beginning of the century arose - "Union of Russian Artists". The exhibitors of the “Union” were artists with different worldviews: S. Ivanov, M. Nesterov, A. Arkhipov, the Korovin brothers, L. Pasternak. Organizational affairs were in charge of A.M. Vasnetsov, S.A. Vinogradov, V.V. Bookbinders. Pillars of Peredvizhniki V.M. Vasnetsov, Surikov, Polenov were its members. K. Korovin was considered the leader of the “Union”.

In 1910, a number of young artists - P. Konchalovsky, I. Mashkov, A. Lentulov, R. Falk, A. Kuprin, M. Larionov, N. Goncharova and others - united in organization "Jack of Diamonds"", which had its own charter, organized exhibitions and published its own collections of articles. “Jack of Diamonds” actually existed until 1917. Just as post-impressionism, primarily Cezanne, was a “reaction to impressionism,” so “Jack of Diamonds” opposed the vagueness, untranslatability, subtle nuances of the symbolic language of “The Blue Rose” and aesthetic stylism “ World of Art."

The extreme simplification of the form, a direct connection with the art of signage, is especially noticeable in M.F. Larionova (1881–1964), one of the founders of the “Jack of Diamonds”, but already in 1911 he broke with it and organized new exhibitions: “Donkey’s Tail” and “Target”. Its theme is the life of a provincial street and soldiers' barracks. In 1913, Larionov published his book “Rayism” - in fact, the first of the manifestos of abstract art, the true creators of which in Russia were V. Kandinsky and K. Malevich. M.Z. Chagall (1887–1985) created fantasies, transformed from boring impressions of small-town Vitebsk life and interpreted in a naive, poetic and grotesque symbolic spirit.

The art of the pre-revolutionary years in Russia was marked by the extraordinary complexity and contradictoriness of artistic quests, hence the successive groups with their own programmatic guidelines and stylistic sympathies. But along with experimenters in the field of abstract forms, the “Mir Iskusstiki”, “Goluborozovtsy”, “Allies”, “Valentine of Diamonds” continued to work in Russian art of this time; there was also a powerful stream of neoclassical movement, an example of which is the work of an active member of the “Mir” art" in its "second generation" Z.E. Serebryakova (1884–1967). Finally, brilliant evidence of the vitality of national traditions, the great ancient Russian painting is creativity Kuzma Sergeevich Petrov-Vodkin (1878–1939), an artist-thinker who later became a famous master of art during the Soviet period.

The era of highly developed industrial capitalism brought about significant changes in architecture, primarily in the architecture of the city. New types of architectural structures are emerging: factories and factories, train stations, shops, banks; with the advent of cinema - cinemas. The revolution was carried out by new Construction Materials: reinforced concrete and metal constructions, which made it possible to cover gigantic spaces, make huge showcases, and create a bizarre pattern of bindings.

In the last decade of the 19th century, it became clear to architects that architecture had reached a dead end in the use of historical styles of the past; what was needed, according to researchers, was not a “rearrangement” of historical styles, but a creative understanding of the new that was accumulating in the environment of a rapidly growing capitalist city. Last years XIX – early XX centuries. - this is the time of the dominance of modernity in Russia, a striking example of which in Russia was creativity F.O. Shekhtel(1859–1926). Apartment buildings, mansions, buildings of trading companies and train stations - in all genres left by F.O. Shekhtel has his own handwriting. In Art Nouveau one can trace a certain evolution, two stages of development: the first is decorative, with a passion for ornament, decorative sculpture and picturesqueness (ceramics, mosaics, stained glass), the second is more constructive, rationalistic.

Mikhail Vrubel

Vrubel Mikhail Alexandrovich (1856–1910), Russian artist, the largest representative of symbolism and modernism in Russian fine art. Born in Omsk on March 5 (17), 1856. Vrubel studied at the St. Petersburg Academy of Arts (1880–1884) with Pavel Petrovich Chistyakov; took watercolor lessons from Ilya Efimovich Repin. Vrubel was particularly influenced by the painting of the Venetian Renaissance. Invited to restore the Cyril Church (12th century), Vrubel on a number of occasions had to perform new compositions (in particular, “The Descent of the Holy Spirit”, 1884); At the same time, the artist painted the icon “The Virgin and Child” (Kiev Museum of Russian Art). The enchanting splendor of Vrubel’s coloring was fully manifested in the painting “Girl against the Background of a Persian Carpet” (1886, ibid.). After moving to Moscow, Vrubel became one of the most active members of Savva Mamontov’s artistic group. Here the painter paints a number of his best paintings, works in majolica - sculptures Tsar Berendey, Lel, Volkhov - all in the Tretyakov Gallery, Moscow, turning to design, he makes sketches of a ceramic stove, vase, bench (Museum in Abramtsevo). The “Russian style” of these things is also expressed in his scenography associated with the Moscow private Russian opera of Savva Ivanovich Mamontov, including in the design of “Sadko” (1897) and “The Tale of Tsar Saltan” (1900) by Nikolai Andreevich Rimsky-Korsakov. Vrubel's talent as a decorator is also evident in his huge panel "Princess of Dreams", commissioned for the Nizhny Novgorod Fair (1896, Tretyakov Gallery).

Demon, 1890, Flight of Faust and Mephistopheles, 1896, Swan Princess, 1900, Six-winged seraph Azrael, pan 189

The atmosphere of a fairy tale, characteristic of the paintings "Pan" (1899), "The Swan Princess", "Towards Night", "Lilac" (all 1900), tragedy reaches its climax in those Vrubel images that go back to his illustrations for Lermontov's poem " Demon" (watercolor, whitewash, 1890–1891, Tretyakov Gallery and Russian Museum, St. Petersburg), - in the paintings "Demon" (1890) and "Demon Defeated" (1902; both works - Tretyakov Gallery).

In 1902, Vrubel was struck by a serious mental illness, but even in his later period (spent mainly in private clinics in Moscow and St. Petersburg) he created many works marked by exquisite craftsmanship ("Pearl", 1904; Portrait of Valery Yakovlevich Bryusov, 1906) - works transitioning from modern to avant-garde. In 1906 the artist went blind. Vrubel died in St. Petersburg on April 1 (14), 1910. The influence of his art was universal: almost all major masters of Russian art of the 20th century experienced it to one degree or another

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

The cradle of the “World of Art” was a circle of St. Petersburg intelligentsia that arose in the 1890s. Its number included artists A. N. Benois, K. A. Somov, L. S. Bakst. By the end of this decade, the “World of Art” took shape as an ideological and artistic association. V. A. Serov took part in it, supporting him with his authority. The core of the young group was replenished by E. E. Lansere and M. V. Dobuzhinsky. S. P. Diaghilev, devoted to the interests of art, played a major organizational role. From 1899 to 1904, members of the World of Art published a literary and artistic magazine. However, he was not united in his focus. Its artistic department, headed by outstanding masters of the fine arts, differed sharply from the literary and philosophical department, which was symbolist and religious in nature.

The World of Art students considered their main goal to be the renewal of Russian art, the improvement of its artistic culture, skill, and wide familiarization with the traditions of foreign and domestic heritage. World of Art students organized extensive exhibitions of domestic and foreign art and were the initiators of many artistic endeavors. They then declared themselves opponents of both the routine academicism and the petty everydayism of the late Itinerants.

In their creative practice, Miriskus artists proceeded from specific life observations, depicting contemporary nature and man. IN early years In the life of the association, the world artists paid tribute to individualism. Later, in the pre-revolutionary decade, they largely revised their aesthetic positions, recognizing individualism as destructive for art. During this period, modernism became their main ideological opponent.

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

Graphics attracted the world of art as one of the mass forms of art; they were also impressed by its chamber forms, common in those years in many types of art. In addition, the graphics required special attention, since it was significantly less developed than painting. Finally, the development of graphics was also facilitated by achievements in domestic printing.

The uniqueness of the easel graphics of the “World of Art” were the landscapes of old St. Petersburg and its suburbs, the beauty of which the artists sang, as well as the portrait, which in their work occupied essentially an equal place with the picturesque. Huge contribution A. P. Ostroumova-Lebedeva contributed to the graphics of the early 20th century; in her work, wood engraving is established as an independent art form. The romantic work of V.D. Falileev, who developed the art of engraving on linoleum, was unique. The most significant phenomenon in the field of etching was the work of V. A. Serov. They were distinguished by their simplicity, severity of form and excellent drawing skills. Serov also advanced the development of lithography, creating a number of remarkable portraits in this technique, notable for their expressiveness with an amazing economy of artistic means.

The “World of Art” masters have achieved enormous success in the field of book illustration, raising high level artistic culture of the book. The role of A. N. Benois, E. E. Lanceray, and M. V. Dobuzhinsky is especially significant in this regard. I. Ya. Bilibin, D. N. Kardovsky, G. I. Narbut, D. I. Mitrokhin, S. V. Chekhonin and others worked fruitfully in book graphics.

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

The first timid step towards avant-garde art was made in 1907 by artists Association "Blue Rose"- P. Kuznetsov, N. Apunov, S. Sudeikin, M. Saryan, A. Fonvizin, N. Krymov. The style of the “Goluborozovites”, sophisticated, poetic, closely related to the aesthetics of symbolism, was created with an emphasis on neo-primitivism, which partly influenced the development of the work of such “titans” of the Russian avant-garde as M. Larionov, N. Goncharova or K. Malevich.

New art first loudly declared itself in 1910 at the exhibition “Jack of Diamonds”, organized on the initiative of Mikhail Larionov. Original and very different masters from each other took part in it - Ilya Mashkov (1), Natalya Goncharova (2), Aristarkh Lentulov (3), Robert Falk and many others. What united them all was the mood of a “square painting action”, the desire to convey the atmosphere of a booth, a fair performance.

The pictorial style of the “Jack of Diamonds” was characterized by a bizarre mixture of French post-impressionism with purely Russian icon-painting traditions and techniques folk art(splint prints, paintings of trays and toys, store signs). The exhibition was a real shock for respectable Muscovites and even for art critics, who had already seen a lot of things. However, its organizers would be upset if the effect were different. After all, the very choice of the name of the exhibition became quite shocking: in street slang, “Jack of Diamonds” meant “swindler”, “rogue”, “dishonest person”.

Unfortunately (or fortunately for the further development of the avant-garde), by 1912 creative differences began among the members of the association. Larionov and Goncharova separated from the main core, while the rest announced the creation of an official group under called "Jack of Diamonds". In their work, the Jack of Diamonds relied on the discoveries of Paul Cézanne, especially in the field of color and space, so still life and landscape became their favorite genres.

Larionov and Goncharova did not approve of such a passion for French art, believing that their former like-minded people valued Western masters too much and paid too little attention to national traditions. In 1912 they staged an exhibition called "Donkey's Tail"- as an allusion to the situation that arose in the “Salon of Independents”, where they tried to pass off a canvas painted with a donkey’s tail as a masterpiece of avant-garde art. Larionov and Goncharova did not completely abandon the use of painting techniques of European masters, but combined them with the achievements of Russian folk painting and icon painting (4). The exhibition did not produce a coherent painting movement, but it turned out to be very significant for the further development of the Russian avant-garde. In a year they organized another exhibition, “Target,” in which St. Petersburg futurist artists took part. There Larionov demonstrated his first non-objective “radiant” works.

The artistic life of St. Petersburg also did not stand still. In 1910, a creative association arose here "Youth Union", which did not have a special program and united representatives of different artistic movements (O. Rozanova, I. Klyun (6), N. Altman, A. Exter, N. Udaltsova, M. Chagall). Unlike Muscovites, St. Petersburg residents were more influenced by the Cubists and Italian Futurists, and the Russian version of Futurism turned out to be much richer and more interesting than what Marinetti and his followers proposed. Combining the principles of these two directions, they created their own style on their basis - cubo-futurism. The main work was carried out in the period 1911–1915. The work of Olga Rozanova is particularly original; she, in parallel with Kandinsky and Malevich, is looking for ways to abstraction.

Supremus - means “supreme, excellent”. The term invented by Malevich for the new artistic direction was supposed to mean the superiority of the new painting over everything that came before it, the victory of pure colors freed from the world of things.

In the first years after October revolution Many art universities and workshops arose in the country, in the activities of which avant-garde masters took the most enthusiastic part. The main educational institutions were INHUK (Institute of Artistic Culture) and VKHUTEMAS (Higher Artistic and Technical Workshops), where leading figures of the avant-garde taught - Popova, Ekster, Rodchenko, Malevich, Tatlin, Filonov.

Filonov's work stands apart in the colorful kaleidoscope of styles and phenomena of the first decade of the twentieth century. He has the honor of creating a specific direction called “analytical art” (8). In March 1914, he began to gather around himself a group of like-minded people who released the manifesto “Intimate Workshop of Painters and Draftsmen

The unity of power and art was not destined to last long. Already in the 1920s, a gradual “tightening of the screws” began. Increasingly, avant-garde artists were accused of being out of touch with the people, reproached for being too complex and abstruse.

By 1932, non-preparatory work was ousted from art workshops, and the doctrine of “socialist realism” was finally established in art.

Wassily Kandinsky

Kandinsky Wassily (1866–1944), Russian and German artist, art theorist and poet, one of the leaders of the avant-garde of the first half of the 20th century; became one of the founders of abstract art. Born in Moscow on November 22 (December 4), 1866. Even in his high school years, he began to actively study music and painting. From 1885, Kandinsky studied jurisprudence at a university in Moscow, but later decided to devote himself to art. From 1897 he lived in Munich, where he studied at the local Academy of Arts under the direction of Franz von Stuck. Traveled extensively throughout Europe and North Africa(1903–1907), (paintings “Motley Life”, “Ladies in Crinolines” and others). In 1910, Kandinsky created the first abstract painting improvisations and completed the treatise “On the Spiritual in Art” (the book was published in 1911 in German).

Motley Life, Moscow 1

In 1914, Wassily Kandinsky returned to Russia, where he lived mainly in Moscow. (“Moscow. Red Square”, 1916, Tretyakov Gallery; “Trouble”, ibid.; “Twilight”, Russian Museum; “Grey Oval”, Art Gallery, Yekaterinburg; all works - 1917). In 1918, Wassily Kandinsky published an autobiographical book "Steps". However, not accepting communist ideology, he left Russia forever in 1921. Lived in Germany. (“In a Black Square”, 1923; “Several Circles”, 1926; both paintings are in the S. Guggenheim Museum, New York). In 1924, the master formed an association together with Jawlensky, L. Feininger and P. Klee "Blue Four" organizing joint exhibitions with them. With the beginning of the German occupation (1939), he returned to Paris, where he continued to work actively, including on a project for a comedy film-ballet, which he intended to create together with the composer Hartmann. Kandinsky died in Neuilly-sur-Seine on December 13, 1944.

Pavel Filonov

born in Moscow. Having been orphaned early, he moved to St. Petersburg, where he took painting lessons. Since 1908 Pavel Filonov studied at the Academy of Arts, from where he was expelled in 1910. In 1911 he contacted the Youth Union and participated in their exhibitions. IN next year traveled to Italy and France.

Filonov's first significant works, usually written in mixed media on paper (Man and Woman, Feast of Kings, East and West, West and East; all works - 1912–1913, Russian Museum, St. Petersburg), are closely related to symbolism and modernism. In 1913 designed the stage decorations for Vladimir Mayakovsky's tragedy "Vladimir Mayakovsky" in 1919. The artist's paintings were exhibited at the first state free exhibition of workers' art in Petrograd.

In 1923 Pavel Filonov becomes a professor at the Academy of Arts and a member of the Institute of Artistic Culture (INHUK). In those same years, Pavel Filonov's "Declaration of World Growth" was published in the magazine "Life of Art". Two years later, Pavel Filonov assembled a team of masters of analytical painting (now known as the Filonov school). Due to continued harsh criticism and attacks against Filonov, his exhibition, planned for 1929-1930. did not take place at the Russian Museum. In 1932 His life and work were not cut short by the war. He died of pneumonia during the siege of Leningrad in 1941. In 1967 A posthumous exhibition of works by Pavl Filonov was held in Novosibirsk.

Small house in Moscow

Malevich Kazimir(1878(?) - 1935)- artist, one of the founders. geometer. abstract art., Belarusian father. - Belarusian and Russian artist, one of the founders of geometric abstract art.. Kazimir Malevich was born on February 23, 1878 or 1879 in Kyiv. According to popular belief, the date of birth of K. Malevich is 1878, however, according to the research of the Kyiv author D. Gorbachev, archival metric records found in 2004 indicate that the date of birth of K. Malevich is 1879.

Malevich's parents were Poles by origin. My father worked as a manager at the sugar factory of the famous Ukrainian industrialist Tereshchenko. According to other sources, Malevich’s father was the Belarusian ethnographer and folklorist Severin Antonovich Malevich (1845-1902). Mother Ludwig Alexandrovna (1858-1942) was a housewife. The Malevich couple had fourteen children, but only nine of them lived to see mature age. Casimir was the first-born. He began to learn to draw on his own after his mother gave him a set of paints at the age of 15. At the age of 17, he spent some time at the Kyiv art school N. I. Murashko. In 1896, the Malevich family settled in Kursk. There Kazimir worked as a minor official, but quit his service to pursue a career as an artist. Malevich's first works were written in the style of impressionism. Later, Malevich became one of the active participants in futurist exhibitions. In 1913, he designed the futuristic opera “Victory over the Sun.”

In 1919-1922, Kazimir Malevich taught at the People's Art School of the “new revolutionary model” in Vitebsk. In the 20s, he participated in the design of V. V. Mayakovsky’s performances “Mystery-Buff”.

From 1923 to 1927 - director of the Leningrad State Institute of Artistic Culture. He was a member of the Association of Modern Architects (OSA). In 1930, the artist's works were exhibited at exhibitions in Berlin and Vienna. In the fall of 1930, Malevich was arrested by the NKVD as a “German spy.” He stayed in prison until December 1930. His paintings were under arrest for many years in the USSR.

Malevich was a consistent propagandist of his own theory. Over time, a group of like-minded people UNOVIS (Approvers of New Art) formed around him. The creations of Russian avant-garde artists of the beginning of the century blew up the outdated pro-Western visual consciousness.

He was a member of the group of young artists Donkey Tail.

Malevich's most famous painting is Black Square (1915), which was a kind of pictorial manifesto of Suprematism. The “Black Circle” and “Black Cross” serve as a mystical addition to the picture. According to his will, after his death, Malevich’s body was cremated in a Suprematist coffin, and then the urn was buried under the artist’s favorite oak tree near the village of Nemchinovka. A cubic concrete monument with a black square depicted was installed above the grave. During the war, the grave was lost. Currently, its location has been established by enthusiasts with sufficient accuracy. The grave is located near Sovetsky Prospekt in Nemchinovka, east of the pond. A small monument has been erected at the site of the grave.

1.The art of Russia at the end of the 20th century. The last decade of the 20th century in Russia was full of political and economic events that radically changed the situation in the country. The collapse of the Union in 1991 and a change in political course, the transition to market relations and a clear orientation towards the Western model economic development and finally, the weakening, even the complete abolition, of ideological control - all this in the early 90s contributed to the fact that the cultural environment began to change rapidly. Liberalization and democratization of the country contributed to the development and establishment of new trends and directions in domestic art. The evolution of art in the 1990s in Russia occurs with the emergence of trends inherent in postmodernism, with the emergence of a new generation of young artists working in such directions as, conceptualism, computer graphics, neoclassicism related to the development of computer technologies in Russia. Emerging from classical eclecticism, “New Russian Neoclassicism” became a “multifaceted diamond”, combining various directions that did not belong to the “classics” before the era of modernism. Neoclassicism is a direction in art in which artists revive the classical traditions of painting, graphics, sculpture, but at the same time they actively use the latest technologies. British historian and art theorist Edward Lucy Smith called Russian neoclassicism “the first striking phenomenon of Russian culture that influenced the world artistic process after Kazimir Malevich.” Neoclassicism demanded a different attitude towards antiquity than that of the classicists. The historical view of Greek culture made ancient works not an absolute, but a concrete historical ideal, so imitation of the Greeks received a different meaning: in the perception of ancient art, it was not its normativity that came to the fore, but freedom, the conditionality of rules that would later become canon, real life people. D.V. Sarabyanov finds neoclassicism to be a kind of “complication” of modernity. With equal probability, neoclassicism can be considered both late modern and an independent movement. In the work of the “new artists” there is no pure modernity or separate neoclassicism; they always appear interconnected; the artists of the new academy combined several trends in the fine arts: avant-garde, postmodernism, classicism in the “collage space”. The works of the “new artists” are eclectic, combining computer graphics, etching, painting and photography. The artists transferred the finished works into digital format, highlighted the necessary fragments and created collages, masterfully restoring the costumes and decor of antiquity. The combination of traditional methods with the capabilities of computer graphics programs has expanded the creative potential of artists. Collages were assembled from scanned material, artistic special effects were applied to them, and they were deformed, creating illusory compositions. The most prominent representatives of St. Petersburg neoclassicism of the early 90s were O. Toberluts, E. Andreeva, A. Khlobystin, O. Turkina, A. Borovsky, I. Chechot, A. Nebolsin, E. Sheff. Neoclassicism Toberluts is one of the manifestations of romanticism. Her works personify human feelings, dreams, nobility, something enthusiastic and addressed to an unrealistic ideal. . The artist herself becomes the heroine of her works. In terms of stylistics, O. Toberluts’ work can be defined as neoclassicism, passed through postmodern consciousness, as an eclectic world in which ancient temples, Renaissance interiors, Dutch mills and costumes from designer K. Goncharov are depicted as a touch of modernity. The limitless possibilities of computer graphics give O. Tobreluts’ works a fantastic and supernatural quality. Using computer technology E. Sheff returns either to ancient Greece or to ancient Rome, creating images of ancient mythology in his collages. In the series "Ludwig's Myths" the artist used photographs of Greek sculptures and architectural structures, superimposing on them the effects of antiquity. With the help of computer technology, the artist restores the pristine state of the Colosseum, conducting fascinating excursions around it. Digital painting Shutova represents the emotional equivalent of his many hobbies. In it you can find Greek classics, and echoes of ethnographic research, as well as elements of youth subculture. Thus, it can be noted that the end of the 20th century was turning point not only in the political and economic life of Russia, but also in art. In the 90s, a powerful direction in the fine arts, “new Russian neoclassicism,” was established. The development of computer technology in Russia expanded the creative potential of artists; new artists, using new technologies, created classic works. The main thing is not technique and technology, but aesthetics. Contemporary art can also be classical. 2.The art of Russia at the beginning of the 21st century. A feature of fine art at the turn of the 20th and 21st centuries is that it became free from censorship, from the influence of the state, but not from the market economy. If in Soviet time Professional artists were provided with a package of social guarantees, their paintings were purchased for national exhibitions and galleries, but now they can only rely on their own strength. But Russian painting did not die and did not turn into a semblance of Western European and American art; it continues to develop on the basis of Russian traditions. Contemporary art is exhibited by contemporary art galleries, private collectors, commercial corporations, public art organizations, museums of modern art, art studios or by the artists themselves in artist-run space. Contemporary artists receive financial support through grants, awards and prizes, and also receive funds from sales of their works. Russian practice is somewhat different in this sense from Western practice. Museums, Biennales, festivals and contemporary art fairs are gradually becoming tools for attracting capital and investment in travel business or part public policy. Private collectors provide big influence for the entire system of contemporary art. In Russia, the non-state Erarta Museum of Contemporary Art in St. Petersburg has one of the largest collections of contemporary art. Directions in contemporary art: Nonspectacular art- a direction in modern art that rejects entertainment and theatricality. An example of such art is the performance of the Polish artist Pavel Althamer “Script Outline”, at the exhibition “Manifesta” in 2000. In Russia he proposed his own version of nonspectacular art Anatoly Osmolovsky. Street art(English) Street art- street art) - fine art, the distinctive feature of which is a pronounced urban style. The main part of street art is graffiti (aka spray art), but one cannot assume that street art is graffiti. Street art also includes posters (non-commercial), stencils, various sculptural installations, etc. In street art, every detail, little thing, shadow, color, line is important. The artist creates his own stylized logo - a “unique sign” and depicts it in areas of the urban landscape. The most important thing in street art is not to appropriate territory, but to involve the viewer in dialogue and show a different plot program. The last decade has seen a variety of directions taken by street art. While they admire the older generation, young writers are aware of the importance of developing their own style. Thus, more and more new branches are emerging, predicting a rich future for the movement. New and varied forms of street art sometimes surpass in scope everything that was created before. Airbrush - one of the painting techniques of fine art that uses an airbrush as a tool to apply liquid or powdered dye using compressed air to any surface. A can of spray paint can also be used. Due to the widespread use of airbrushing and the emergence large quantity various paints and compositions, airbrushing has received a new impetus for development. Nowadays, airbrushing is used to create paintings, photo retouching, taxidermy, model making, textile painting, wall painting, body art, nail painting, souvenir and toy painting, and tableware painting. It is often used for applying designs to cars, motorcycles, other equipment, in printing, in design, etc. Thanks to a thin layer of paint and the ability to smoothly spray it on the surface, it is possible to achieve excellent decorative effects, such as smooth color transitions, three-dimensionality, photographic realism of the resulting image, imitation of rough texture with ideal surface smoothness.

Topics and questions of seminar classes;

Topic 1. Basic concepts of art criticism and art history.

Questions:

1. The problem of classifying types of art.

2. The concept of “work of art”. The emergence and purpose of a work of art. Work and art.

3. The essence, goals, tasks of art.

4.Functions and meaning of art.

5. The concept of “style”. Artistic style and its time.

6.Classification of arts.

7. History of the emergence and development of art criticism.

Issues for discussion:

1. There are 5 known definitions of art. What is characteristic of each of them? Which definition do you adhere to? Can you formulate your definition of art?

2. What is the purpose of art?

3. How can you define a work of art? How do “work of art” and “artistic work” coexist? Explain the process of the emergence of a work of art (according to I. Ten). What is the task of a work of art (according to P.P. Gnedich)?

4. List 4 main functions of art (according to I.P. Nikitina) and four

possible understanding of the meaning of art.

5. Define the meaning of the concept “style”. What styles of European art do you know? What is “artistic style”, “artistic space”?

6. List and give a brief description of the types of art: spatial, temporal, spatiotemporal and spectacular arts.

7. What is the subject of the study of art history?

8. What do you think is the role of museums, exhibitions, galleries, and libraries for studying works of art history?

9. Features of ancient thought about art: Surviving information about the first examples of literature about art (“The Canon” of Polykleitos, the treatises of Duris, Xenocrates). “Topographical” trend in literature about art: “Description of Hellas” by Pausanias. Description of works of art by Lucian. The Pythagorean concept of “space” as a harmonious whole, subject to the laws of “harmony and number” and its significance for the beginnings of the theory of architecture. The idea of order and proportionality in architecture and urban planning. Images of an ideal city in the works of Plato (the sixth book of the Laws, the dialogue Critias) and Aristotle (the seventh book of Politics). Understanding art in Ancient Rome. “Natural History” by Pliny the Elder (1st century AD) as the main source of information on the history of ancient art. Treatise of Vitruvius: A Systematic Exposition of Classical Architectural Theory.

10. The fate of ancient traditions in the Middle Ages and the features of medieval ideas about art: Aesthetic views of the Middle Ages (Augustine, Thomas Aquinas), the leading aesthetic idea: God is the source of beauty (Augustine) and its significance for artistic theory and practice. The idea of a "prototype". Features of medieval literature about art. Practical-technological, prescription manuals: “Guide to Painters” from Mount Athaon by Dionysius Furnagrafiot, “On the Paints and Arts of the Romans” by Heraclius, “Schedula” (Schedula – Student) by Theophilus. Description of architectural monuments in chronicles and lives of saints.

11.Renaissance as a turning point in the history of the development of European art and art history. New attitude to antiquity (study of ancient monuments). The development of a secular worldview and the emergence of experimental science. Formation of a tendency towards historical and critical interpretation of artistic phenomena: “Comments” by Lorenzo Ghiberti Treatises on special issues - urban planning (Filarete), proportions in architecture (Francesco di Giorgio), perspective in painting (Piero della Francesca). Theoretical understanding of the Renaissance turning point in the development of art and the experience of humanistic study of ancient heritage in the treatises of Leon Baptiste Alberti (“On the Statue”, 1435, “On Painting”, 1435-36, “On Architecture”), Leonardo da Vinci (“Treatise on Painting” , published posthumously), Albrecht Durer (“Four Books on Human Proportions”, 1528). Criticism of the architectural theory of Vitruvius in “Ten Books on Architecture” (1485) by Leon Baptiste Alberti. The Vitruvian “Academy of Valor” and its activities in studying and translating the work of Vitruvius. Treatise by Giacomo da Vignola “The Rule of the Five Orders of Architecture” (1562). “Four Books on Architecture” (1570) by Andrea Palladio is a classic epilogue in the history of Renaissance architecture. The role of Palladio in the development of architectural ideas of Baroque and Classicism. Palladio and Palladianism.

12. The main stages in the formation of historical art criticism in modern times: from Vasari to Winckelmann: “Biographies of the most outstanding painters, sculptors and architects” by Giorgio Vasari (1550, 1568) as a landmark work in the history of the formation of art history science. “The Book of Artists” by Karel Van Mander as a continuation of Vasari’s life stories based on the material of Dutch painting.

13. Thinkers of the 18th century on the problems of style formation in art, on artistic methods, the place and role of the artist in society: Rationalism in art history. Classical theory of Nicolas Poussin. The theoretical program of classicism in “The Poetic Art” of Nicolas Boileau (1674) and “Conversations on the most famous painters, old and new” by A. Feliben (1666-1688).

14. Age of Enlightenment (18th century) and theoretical and methodological problems of art. Formation of national schools within the framework of the general theory of art. The development of art criticism in France. The role of Salons in French artistic life. Reviews of Salons as leading forms of critical literature on the fine arts. Disputes about the tasks of art criticism (evaluating creativity or educating the public). Features of German art history. Contributions to the theory of fine arts by Gotthold Ephraim Lessing. Treatise “Laocoon” (1766) and the problem of the boundaries of painting and poetry. Introduction of the concept of “fine arts” instead of “ fine arts"(shifting the emphasis from beauty to truth and highlighting the pictorial-realistic function of art). The significance of the activities of Johann Joachim Winckelmann for the development of the historical science of art. Winckelmann's concept of ancient art and the periodization of its development.

15. The origins of Russian thought about art. Information about artists and artistic monuments in Russian medieval chronicles and epistolary sources. Raising questions about art in the socio-political life of the 16th century. (Stoglavy Cathedral of 1551 and other cathedrals) as evidence of the awakening of critical thinking and the struggle of various ideological trends.

16. A radical change in Russian art of the 17th century: the formation of the rudiments of a secular worldview and the first acquaintance with European forms of artistic culture. The formation of artistic and theoretical thought. Chapter “On Icon Writing” in the “Life” of Avvakum. “Essay on Art” by Joseph Vladimirov (1665-1666) and “A Word to the Careful Painting of Icons” by Simon Ushakov (1666-1667) are the first Russian works on the theory of art.

17. Active formation new secular forms of culture in the 18th century. Notes

J. von Staehlin is the first attempt to create a history of Russian art.

18. New romantic understanding of art in critical articles by K.N. Batyushkova, N.I. Gnedich, V. Kuchelbecker, V.F. Odoevsky, D.V. Venevitinova, N.V. Gogol.

19. Art history of the late 19th - 20th centuries: Attempts to synthesize the achievements of the formal school with the concepts of its critics - “structural science” about artistic styles. Semiotic approach in art history. Features of the semiotic study of works of fine art in the works of Yu.M. Lotman, S.M. Daniel, B.A. Uspensky. The variety of methods for studying art in modern Russian science. The principles of analysis of a work of art and the problematic approach to the study of art history in the works of M. Alpatov (“Artistic problems of the art of Ancient Greece”, “Artistic problems of the Italian Renaissance”). Synthesis of methodological approaches (formal-stylistic, iconographic, iconological, sociological) by V. Lazarev. Comparative historical method of research in the works of D. Sarabyanov (“Russian painting of the 19th century among European schools. Experience of comparative research”). Systematic approach to art and its features.

1. Alekseev V.V. What is art? About how painters, graphic artists and sculptors depict the world. – M.: Art, 1991.

2. Valerie P. About art. Collection. – M.: Art, 1993.

3.Whipper B.R. An introduction to the historical study of art. – M.: Fine Arts, 1985.

4.Vlasov V.G. Styles in art. - St. Petersburg: 1998.

5.Zis A.Ya. Kinds of art. – M.: Knowledge, 1979.

6.Kon-Wiener. History of visual arts styles. – M.: Svarog and K, 1998.

7.Melik-Pashaev A.A. Modern dictionary-reference book on art. – M.: Olympus – AST, 2000.

8. Yanson H.V. Fundamentals of Art History. – M.: Art, 2001.

Topic 2. Art of the Ancient World. Art of the era of the primitive communal system and the Ancient East.

Questions:

1. Periodization of the art of primitive society. Characteristic primitive art eras: Paleolithic, Mesolithic, Neolithic, Bronze.

2. The concept of syncretism in primitive art, its examples.

3. General patterns and principles of art of the Ancient East.

4.Art Ancient Mesopotamia.

5.The art of the ancient Sumerians.

6. The art of ancient Babylonia and Assyria.

Issues for discussion:

1. Give short review periodization of primitive art. What are the characteristics of the art of each period?

2. Describe the main features of primitive art: syncretism, fetishism, animism, totemism.

3.Compare the canons in the depiction of man in the artistic work of the ancient East (Egypt and Mesopotamia).

4. What are the features of the visual arts of Ancient Mesopotamia?

5.Tell about the architecture of Mesopotamia using the example of specific monuments:

the ziggurat of Etemenniguru at Ur and the ziggurat of Etemenanki in New Babylon.

6.Tell about the sculpture of Mesopotamia using the example of specific monuments: walls along the Processional Road, Ishtar Gate, reliefs from the palace of Ashurnasirpal in

7.What is the theme of the sculptural relief images of Mesopotamia?

8. What were the names of the first Babylonian architectural monuments? What was it like for them

purpose?

9. What is the peculiarity of the cosmogony of the Sumerian - Akkadian culture?

10. List the achievements in the art of the Sumerian - Akkadian civilization.

1. Vinogradova N.A. Traditional art of the East. – M.: Art, 1997.

2. Dmitrieva N.A. Short story arts Vol. 1: From ancient times to the 16th century. Essays. – M.: Art, 1985.

3. Art of the Ancient East (Monuments of world art). – M.: Art, 1968.

4.The art of Ancient Egypt. Painting, sculpture, architecture, applied art. – M.: Fine Arts, 1972.

5.Art Ancient World. – M.: 2001.

6. History of art. The first civilizations. – Barcelona-Moscow: OSEANO – Beta Service, 1998.

7. Monuments of world art. Issue III, first series. Art of the Ancient East. – M.: Art, 1970.

8. Pomerantseva N.A. Aesthetic foundations of the art of Ancient Egypt. – M.: Art, 1985.

9.Stolyar A.D. The origin of fine art. – M.: Art, 1985.

The era of Peter I is of fundamental importance for all Russian art of modern times. Russia in all areas, including in the field of cultural construction, had to stand on a par with Western European countries. Peter understood great value for Russia to master the advanced artistic experience of the West. Works by Western European masters were purchased, pensioner trips were arranged at the expense of Russian masters to study in Europe, foreign artists were invited to work and train Russian masters in Russia.

I. N. Nikitin. Portrait of the floor hetman. 1720s Canvas, oil.

While noting changes in Russian art, we must not forget that they were based on great historical heritage, were prepared by the previous course of development of artistic culture. In the art of the 17th century. New features already appeared, for example, the construction of palaces, the genre of portraiture in painting began to be determined, but they were most fully revealed at the beginning of the 18th century. National traditions decisively influenced the nature of the creativity of many foreign masters who worked in Russia.

A. M. Matveev. Auto-reply with my wife. Canvas, oil.

The essence of Peter's transformations in the field of culture is its “secularization.” This means that art becomes secular, it ceases to serve the interests of only the religious cult. The very composition of art is being transformed, new types of artistic activity and genres are appearing, and finally, the visual language is changing. The basis of painting becomes observation, the study of the forms of earthly nature and man, and not following canonized models, as in the Middle Ages.

Among the genres of painting, starting from the time of Peter the Great and throughout the entire 18th century. the portrait becomes the leader. The work of two Russian portrait painters - I. N. Nikitin and A. M. Matveev marks the birth of the actual psychological portrait.

V. L. Borovikovsky. Portrait of A. G. and V. G. Gagarins. 1802. Oil on canvas. State Tretyakov Gallery. Moscow

Civil and palace construction of the Peter the Great era is a new bright period in the history of Russian architecture.

Subordinate to the tasks of practical life, art in Peter's time was understood as a high degree of skill - “art” in any matter, be it painting, sculpture or making a model of a ship or watch mechanisms. The fusion of art with technology, science and craft determines the special artistic and engineering character of the culture of the Peter the Great era. Not only the state, but also the largest cultural action of Peter I was the founding of St. Petersburg - the new capital of the young Russian Empire, which becomes the center of new art.

A. G. Venetsianov. At the harvest. Summer. 1820s Canvas, oil. State Tretyakov Gallery. Moscow.

Art begins to serve the purpose of decorating life and everyday life, acquiring a festive, magnificent and decorative character along with a monumental scale. These features received their most vivid and perfect expression in the work of the great architect V.V. Rastrelli - builder of the Grand Palace in Tsarskoe Selo and the Winter Palace in St. Petersburg - brilliant examples of the Baroque style.

Second half of the 18th century. - a time of powerful, brilliant flowering of Russian art of modern times. The time for Europe's apprenticeship has passed. Established in 1757, the St. Petersburg Academy of Arts became a forge of national artistic personnel. The art education system was streamlined, and contacts with the European cultural world became more focused. The beginning of the Academy of Arts coincided with the establishment of classicism - a style that contrasted the decorative pomp and extravagance of the Baroque with strict logic, reasonable clarity and proportionality, which are rediscovered in the classical works of ancient art and the Renaissance. In architecture, this is the time of activity of such outstanding architects as V. I. Bazhenov - the author of the Pashkov house in Moscow, M. F. Kazakov - the builder of the Senate building in the Moscow Kremlin and many public and private buildings in Moscow, I. E. Starov, according to the project who built the Tauride Palace in St. Petersburg, Charles Cameron is the creator of a magnificent palace and garden and park ensemble in Pavlovsk near St. Petersburg. The rise of Russian sculpture in the works of F. G. Gordeev, I. P. Martos, M. I. Kozlovsky, F. F. Shchedrin is also associated with the era of classicism. Exceptional psychological insight, courage and flexibility artistic techniques, alien to any conventional schemes, the portrait sculpture of F. I. Shubin is distinguished. Evidence of the maturity of Russian art, achieved in the second half of the 18th century, is the diversity of creative individuals, reflected, for example, in the difference in artistic style of the two greatest masters of portrait painting - F. S. Rokotov and D. G. Levitsky. Levitsky's painting is filled with brilliance, rapture with the visible beauty of the material world, captivates with the fullness of life, the amazing variety of recreated human types, the wealth of emotional intonations - solemnity, grace, slyness, pride, coquetry, etc. Rokotov in the best portraits of the 1770s. appears as a master of intimate characterization, manifested in the nuances and shades of facial expressions, mysteriously flickering from the darkness of picturesque backgrounds. The work of V. L. Borovikovsky, completing the brilliant flowering of portrait art of the 18th century, is marked by the influence of the ideas and sentiments of sentimentalism.

F. S. Rokotov. Portrait of A. P. Struyskaya (fragment). 1772. Oil on canvas. State Tretyakov Gallery. Moscow.

With the advent of the 19th century. Significant changes are taking place in Russian art. The beginning of the century was marked by the birth of a new artistic movement - romanticism, the first exponent of which was O. A. Kiprensky. Russian painting owes the discovery of plein air painting in landscape to S. F. Shchedrin. A.G. Venetsianov becomes the founder of the Russian everyday genre. For the first time turning to the depiction of peasant life, he showed it as a world full of harmony, grandeur and beauty. Contrary to the opposition between “simple nature” and “graceful nature” that existed in academic aesthetics, the graceful was discovered in a field of activity that had previously been considered unworthy of art. For the first time, the soulful lyricism of Russian rural nature was heard in Venetsianov’s paintings. An excellent teacher, he educates a galaxy of artists such as A.V. Tyranov, G.V. Soroka and others. One of the leading genres in their work, along with landscape and portrait, is interior. The genre composition of Russian art is being enriched. Depicting life in its simple, unpretentious appearance, in the peaceful flow of everyday life, in pictures of native nature, they made beauty in art commensurate with the feelings of ordinary people who perceive the beautiful and poetic as moments of rest and silence, won from everyday worries and labors. At the same time, a visual system emerges, opposed to the academic school, a system based not on an orientation towards traditional patterns of the past, but on the search for harmonious patterns and poetry in ordinary, everyday reality. Reality powerfully invades art and leads to the 40s. to the flourishing of everyday and satirical graphics (V.F. Timm, A.A. Agin), representing an analogy to the “natural school” in literature. This line of art reaches its culmination in the work of P. A. Fedotov, who introduces conflict into the everyday picture, developed dramatic action with a satirical social background, forcing the external environment to serve the purposes of the social, moral, and later psychological characteristics of the heroes. Rethinking the traditional forms of the academic school gives rise to such monumental creations in historical painting as “The Last Day of Pompeii” by K. P. Bryullov, on the one hand, and “The Appearance of Christ to the People” by A. A. Ivanov, on the other. Ivanov enriched painting with in-depth psychological development, the discovery of a new, sketch method of working on a large canvas. Wise assimilation of the classical heritage, testing its precepts own experience painting in the open air, the scale of creative concepts, the attitude towards the creative gift as a great responsibility for enlightening the people and improving their spiritual culture - all this made Ivanov’s work not only a school of mastery, but also a great lesson in humanism in art.

O. A. Kiprensky. Portrait of a boy A. A. Chelishchev. OK. 1809. Oil on canvas. State Tretyakov Gallery. Moscow.

First third of the 19th century. - the highest stage in the development of classicism in Russian architecture, usually called Empire style. The architectural creativity of this period is not so much the perfect design of individual buildings as the art of architectural organization of large spaces of streets and squares. These are the urban planning ensembles of St. Petersburg - the Admiralty (architect A. D. Zakharov), the Exchange on the Spit of Vasilievsky Island (architect J. Thomas de Thomon), the Kazan Cathedral (architect A. N. Voronikhin). The ensembles of K. I. Rossi, the author of the General Staff building that completed the composition of Palace Square, and the complex of buildings, streets and squares around the Alexandria Theater in St. Petersburg, which he designed, are marked by the grandiose scope of urban planning thought.

V. A. Tropinin. Portrait of the son of Arseny Tropinin. 1818. Oil on canvas. State Tretyakov Gallery. Moscow.

Since the beginning of the 1860s, since the abolition of serfdom, Russian art has received a sharp critical focus and thereby speaks of the need for fundamental social changes. Art declared this, depicting the evil of social injustice, exposing the vices and ills of society (most of V. G. Perov’s works of the 1860s). It contrasted the stagnation of modern life with the transformative power of turning points in historical eras (paintings by V. I. Surikov of the 1880s).

S. F. Shchedrin. Moonlit night in Naples. 1828-1829. Canvas, oil. State Russian Museum.

The combination of the truth of characters and circumstances with a truthful depiction of life in the forms in which it is perceived in ordinary, everyday experience is a feature of critical, or democratic, realism, in line with which advanced Russian art has been developing since the early 1860s. The breeding ground and main audience for this new art were the diverse intelligentsia. The heyday of democratic realism in the second half of the 19th century. associated with the activities of the Association of Traveling Art Exhibitions founded in 1870 (see Peredvizhniki). The ideological leader and organizer of the Peredvizhniki was I. N. Kramskoy, one of the most profound artists, a talented theorist, critic and teacher. Under his guiding influence, the TPHV contributed to the consolidation of advanced artistic forces, the expansion and democratization of the audience thanks to the accessibility of artistic language, comprehensive coverage of the phenomena of folk life, and the ability to make art socially sensitive, capable of putting forward themes and issues that concern society at a given historical moment.

A. I. Kuindzhi. Evening in Ukraine. 1878. Oil on canvas. State Russian Museum. Leningrad.

In the 1860s. genre painting dominated, in the 70s - the role of portrait (V. G. Perov, I. N. Kramskoy, N. A. Yaroshenko) and landscape (A. K. Savrasov, I. I. Levitan, I. . I. Shishkin, A. I. Kuindzhi, V. D. Polenov). A major role in promoting the art of the Peredvizhniki belonged to the outstanding art critic and art historian V. V. Stasov. At the same time, the collecting activity of P. M. Tretyakov was developing. His gallery (see Tretyakov Gallery) becomes a stronghold of the new, realistic school; the profile of his collection is determined by the works of the Itinerants.

The next period of Russian art is the end of the 19th - beginning of the 20th century. The 80s were a transitional decade, when peredvizhniki realism reached its peak in the works of I. E. Repin and V. I. Surikov. During these years, such masterpieces of Russian painting were created as “The Morning of the Streltsy Execution”, “Boyaryna Morozova” by V. I. Surikov, “Religious Procession in the Kursk Province”, “Arrest of the Propagandist”, “They Didn’t Expect” I. E. Repin. Next to them, artists of a new generation are already performing with a different creative program - V. A. Serov, M. A. Vrubel, K. A. Korovin. The contradictions of late bourgeois capitalist development have an impact on the spiritual life of society. In the minds of artists, the real world is marked by the stigma of bourgeois greed and pettiness of interests. Harmony and beauty are beginning to be sought beyond the boundaries of apparent prosaic reality - in the realm of artistic fantasy. On this basis, interest in fairy-tale, allegorical and mythological plots revives (V. M. Vasnetsov, M. V. Nesterov, M. A. Vrubel), which leads to the search for such artistic form, which is capable of transferring the viewer’s imagination into the realm of folklore, memories of the past or vague premonitions of the future. The predominance of images and forms that indirectly express the content of modernity over the forms of its direct reflection is one of the distinctive features of the art of the late 19th - early 20th centuries. The complexity of the artistic language characterizes the work of representatives of the “World of Art” - an artistic group that took shape at the turn of the 19th-20th centuries.

V. M. Vasnetsov. Alyonushka. 1881. Oil on canvas. State Tretyakov Gallery. Moscow.

The Art Nouveau style became defining during this period. Along with painting, architecture is actively developing, dominated by the Art Nouveau style, decorative and applied arts, book graphics, sculpture, and theatrical and decorative art. The areas of application of artistic creativity are expanding enormously, but more significant is the interaction and mutual influence of all these areas. Under these conditions, a type of universal artist is formed who can “do everything” - paint a picture and a decorative panel, perform a vignette for a book and a monumental painting, sculpt a sculpture and create a sketch of a theatrical costume. IN varying degrees The features of such universalism are noted, for example, in the work of M. A. Vrubel and the leading architect of the Art Nouveau style in Russia F. O. Shekhtel, as well as the artists of the World of Art.

The most important milestones in the evolution of Russian painting at the turn of the century are marked by the works of V. A. Serov, whose work is imbued with the desire, using new stylistic forms, to avoid formalistic extremes, to achieve classical clarity and simplicity, while maintaining loyalty to the precepts of the realistic school, its humanism, in which sober -a critical view of the world is combined with an idea of the high purpose of man.

A. K. Savrasov. The Rooks Have Arrived. 1871. Oil on canvas. State Tretyakov Gallery. Moscow.

Artistic life of the early 20th century. characterized by unprecedented intensity. Revolutionary events of 1905-1907 stimulated the development of socially active art. The works of N. A. Kasatkin, S. V. Ivanov and others embodied the most important social events of these years, the image of the worker as the main force of the revolution. Many masters work in the field of satirical political graphics and magazine cartoons.

The range of artistic traditions to which the art of the 20th century turns is unusually wide. Along with the Wandering movement, which continues its life, there is a variant of impressionistic painting among the masters of the Union of Russian Artists, symbolism, represented by the work of V. E. Borisov-Musatov and the artists of the Blue Rose association.

K. A. Korovin. In winter. 1894. Oil on canvas. State Tretyakov Gallery. Moscow.

The desire to renew the artistic language by turning to the style of urban craft and folk art, toys, popular prints, signs, children's drawings, taking into account the experience of the latest French painting, characterizes the activities of the artists of the "Jack of Diamonds" - a society organized in 1910. In the work of the masters of this directions - P. P. Konchalovsky, I. I. Mashkov, A. V. Lentulov - the role of still life increases significantly. The traditions of ancient Russian painting receive a new refraction in the art of K. S. Petrov-Vodkin.

F. A. Vasiliev. Before the rain. 1869. Oil on canvas. State Tretyakov Gallery. Moscow.

Reaches a significant rise at the turn of the 19th-20th centuries. sculpture. P. P. Trubetskoy introduces impressionistic features into it. His portrait compositions are distinguished by the sharpness of a captured moment of life and the richness of subtle shades. Working in soft materials, Trubetskoy returned to sculpture the lost sense of material and understanding of its expressive properties. The monument to Alexander III created by Trubetskoy in 1909 is a unique example of a grotesque image solution in the history of monuments. Among the remarkable achievements of monumental sculpture is the monument to N.V. Gogol, created by N.A. Andreev (1909).

In the 1912 sculpture “Seated Man” by A. S. Golubkina, an image appears that synthesizes ideas about the fate of the modern proletarian - this is a symbol of strength that is temporarily constrained, but full of rebellious spirit. The creativity of S. T. Konenkov stands out for its variety of genre and stylistic forms. The real impressions of revolutionary battles are embodied by the sculptor in the portrait “Worker-Combatant 1905 Ivan Churkin.” Not only facial features, but also the solidity of the stone block, emphasized by the sparing treatment, give rise to the image of indestructible will, tempered in the fire of class battles. The traditions of classical sculpture are being revived in the work of A. T. Matveev.

S. A. Korovin. To the world. 1893. Oil on canvas. State Tretyakov Gallery. Moscow.

The desire to rethink and resurrect to a new life almost all the images and forms invented by mankind over its centuries-old history, and at the same time formal experiments, which sometimes reached the point of denying all traditions - these are the extreme manifestations of the artistic situation in Russian art of the early 20th century. However, these extremes themselves were an indicator of the deep internal conflict of Russian life on the eve of the revolution and in their own way reflected the complexity of the time, which, in the words of A. Blok, brought “unheard-of changes, unprecedented revolts.” Under these conditions, that sensitivity to the phenomena of time was cultivated, which, together with a high culture of craftsmanship, the best artists of the pre-revolutionary period brought to Soviet art (see.