| In the 1870-80's historical painting for
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| | at the clenched hands of this fine,
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| the first time seemed to reveal all
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| | young, but not pretty woman, we can feel
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| answers to relevant questions addressed
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| | her inner strength and the emotional
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| by the past. Popular revolts, acts of
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| | strain in her image. This image probably
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| terrorism, execution, heroic deeds,
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| | reminded contemporaries of young girls
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| sacrifice, suffering, betrayal,
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| | exiled to the mines for expressing their
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| faithfulness to ideas and treachery are
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| | ideas. One critic noted the resemblance
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| the concepts dominating the society of
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| | of bracelets on her wrists to fetters.As
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| that time. Some artists approached these
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| | has been mentioned, the most famous among
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| problems via religious subjects, very
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| | the portraitists was Ilya Repin. He saw
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| familiar and clear to Russian people.
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| | the souls of every person who posed for
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| Nikolai Ghe, was one of them. His work,
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| | him, and he destroyed all conventional
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| The Last Supper, lacked mystery and
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| | rules adhered to by other portraitists.
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| sacred meaning. Like-minded people had
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| | He was unsurpassed as a master of any
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| become enemies. Judas, who thought of the
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| | form of portrait from bedchamber to state
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| salvation of his people, did not grasp
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| | portraits. He worked both in painting and
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| the great idea of Christ providing
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| | drawing. The backgrounds for his
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| salvation for the whole of mankind. The
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| | portraits could be a house interior or
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| philosophic disagreement, but not the
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| | landscapes. Using particular composition,
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| betrayal of a greedy man, became the
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| | color schemes, lines, and strokes, he
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| subject of the painting. (Note there are
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| | underlined unique individual features of
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| only 11 Apostles depicted in the painting
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| | the model. The German poet, Rilke, said:
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| and that Judas looks like a winged Angel
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| | "Repin has the nature of an artist. With
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| of Death.) His works, Calvary and
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| | a glance, he inspects everyone he meets,
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| Crucifixion, were dedicated to humanity,
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| | studies him and assigns him to remote
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| at a time when spiritual strength and
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| | corners of his soul and doesn't let him
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| faithfulness to ideas overcome physical
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| | move away until Rapin is finished." Repin
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| suffering.Ivan Kramskoi, also painted
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| | models came from all types of society to
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| religious subjects. In his work, Christ
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| | include peasants as well as the
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| in a Desert, he shows the hero at the
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| | aristocracy. He painted men, women, old
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| moment of making a choice of his life's
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| | people, children, friends and relatives.
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| way. This feeling of choice was familiar
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| | The fine portraiture of Repin gives us an
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| to many people: whether to remain
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| | integral, profound, all-embracing,
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| faithful to destiny or to yield to
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| | general presentation of 19th Century
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| temptation and retreat, having foreseen
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| | society and lively individual images of
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| terrible consequences of remaining
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| | its representatives. Many admire the
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| steadfast. All his life Kramskoi was
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| | works of Repin. Especially fine paintings
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| devoted to a large painting called,
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| | include Fall Bouquet, Portrait of
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| Christ before the people, where he
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| | artist's daughter, Portrait of M.
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| interpreted the subject of sacrifice and
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| | Musorgsky, and the Portrait of Ivan
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| suffering for a people that did not
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| | Kramskoi... The list of works is endless.
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| understand.Vasiliy Surikov's, most famous
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| | In the history of Russian art, the
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| work is his trilogy painted in the 1880s.
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| | portraiture genre is one of the oldest
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| Each of these three paintings is devoted
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| | and most traditional genres. First
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| to a specific epic collision of paramount
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| | introduced at the time of Peter the
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| significance: The Morning of the
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| | Great, it was developed by different
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| Execution of the Streltsi, represents the
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| | generations of artists, but it was the
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| nation in history. Menshikov in Berezovo,
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| | itinerants that made a particularly
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| depicts a hero in history. Finally, the
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| | notable contribution to portraiture. They
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| Boyarynya Morozova, is an example of a
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| | were also great innovators in Landscape
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| hero and the people. Surikov approached
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| | genre.Another important concept of the
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| the most dramatic points of Russian
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| | specific national character of Russia,
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| history: reformation of the church in the
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| | the peculiarity of Russian nature, was
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| mid 17th century, Peter the Great's
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| | done for the first time by Itinerants.
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| reforms of the 18th century, etc. In
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| | Works by Alexei Savrasov, Ivan Shishkin,
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| Surikov's own time, the late 19th
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| | Vasiliy Polenov, Arkhip Kuinji, and Isaak
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| century, there were numerous flashbacks
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| | Levitan were wildly received by the
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| of those events in Russia. The nation
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| | public. These masters showed the highest
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| found itself on the threshold of major
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| | importance of ordinary motifs, scenes,
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| changes once again. Incidentally, Surikov
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| | and seasons of the year Country sights
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| in his Morning, showed for the first time
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| | were approached by artists much more
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| how an historical inevitability can
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| | often than urban motifs, thus emphasizing
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| divide a single nation, turning fellow
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| | peasant themes. But it was not based
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| countrymen against each other. In the
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| | purely on social problems. The whole
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| painting, one of Peter's soldiers is
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| | gamut was captured on canvas. Green plain
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| carefully supporting a strelets (a member
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| | expanses, fallowed fields in the rain,
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| of Ivan the Terrible's elite corps) while
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| | endless travel-worn roads, narrow paths
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| leading him to scaffold. These two
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| | that stretched from different parts of
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| Russians are not enemies, only a
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| | the vast land, dense forests, impassable
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| historical coincidence has turned one of
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| | thickets, small lakes like blue saucers,
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| them into a hangman and the other into
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| | hidden copses, and the beauty of the big
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| his victim. Could Surikov have foreseen
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| | Russian river Volga were all acceptable
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| that twenty years later Russia would be
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| | subjects for these Russian immortals.The
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| flooded with blood once again, and
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| | concept of nature, for Russian Itinerant
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| brother would turn against brother in a
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| | artists and since, has always been
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| civil war? He looked to the past for
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| | closely connected with a man being
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| answers about Russia's future.Surikov
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| | painted in his natural environment.
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| neither passed judgment nor took sides in
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| | Concerns about people and their thoughts
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| his paintings, and his characters were
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| | and the Russian character were very much
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| neither saints nor criminals. Each of
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| | affected by landscape. The narrations
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| them was convinced he was doing the right
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| | about Russian nature indeed involved the
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| thing, but in the eyes of history,
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| | telling of the life story of human beings
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| "right" is synonymous with "imperative."
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| | living in nature. One of the first among
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| It is the inevitable collision of
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| | itinerant landscape artists was Alexei
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| historical interest entailing the death
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| | Savrasov. His painting, Rooks Are Back
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| of one of the parties that the artist
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| | Again, was exhibited for the first time
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| rendered with disturbing vividness.
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| | at the exhibition of 1871 and it amazed
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| Relying on his creative imagination, the
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| | viewers. For the first time they saw a
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| artist craftily conjured up pictures of
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| | plain native landscape far removed from
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| the past, encouraging the viewer to
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| | the flourishing Italian beauty typical of
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| ponder traumatic historical collisions
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| | classical and romantic artists. A feeling
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| that had once shaken the nation,
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| | of nature awakening after winter, as a
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| compelling every person then living to
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| | tree with its bared branches is depicted
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| make his choice. His task was to make his
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| | standing in the distance, soft light
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| characters convincing and historically
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| | coming from the blue sky, a bustle of the
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| credible, to make the viewer believe in
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| | first birds, all combined to evoke a
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| the image before his eyes. In later
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| | feeling of something dear to one's
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| years, Surikov abandoned his
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| | heart.. a familiar scene dating back to
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| preoccupation with dramatic turning
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| | childhood. This sentimental landscape
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| points in history in favor of glorifying
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| | gained high significance in this
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| Russia's heroic past. In spite of this he
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| | genre.Each painter approached similar
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| remained true to himself: the Russian
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| | motifs in his own artistic manner. Ivan
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| people were still the main character of
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| | Shishkin in his works glorified the
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| his works, and courage and daring were
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| | heroic spirit of the Russian land. He
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| the artist's principal subject-matter. In
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| | liked to emphasize the might and grandeur
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| his paintings, Surikov always focused on
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| | of Russian nature. Depicting mostly
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| fine portraiture. His female images are
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| | fields and forests, he was given an
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| particularly elaborate and masterful. He
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| | artistic name of "singer of fields and
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| appreciated and knew how to depict the
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| | forests.'' His selfless love of nature
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| beauty of a Russian woman; he understood
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| | made him not only an artist, but a
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| her contradictory personality, her
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| | botanist as well. He refused to be
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| tenderness, kindness, compassion,
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| | inaccurate depicting tree or blade.
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| cordiality, quiet resignation, and
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| | Numerous studies and sketches that
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| readiness to sacrifice herself, and he
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| | survived till today offer testimony
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| recognized that sometimes, her courage,
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| | concerning his great care in studying
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| strong will, devil-may-care attitude, and
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| | nature.Although Shishkin was often
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| her strong convictions bordered on
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| | criticized for his naturalism and his
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| fanaticism.During that epoch - the heyday
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| | unreasonable standards in his
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| of portrait genre in Russian art - many
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| | representation of nature, the careful
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| artists tended to emphasize their
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| | work at the details of his paintings
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| characters' personalities in their
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| | can't be called "naturalism." Naturalism
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| historical and genre painting. Itinerants
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| | in painting means blind imitation of a
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| made a particularly notable contribution
| |
| | natural view without a well thought-out
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| to portraiture. For the first time in
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| | composition and without the correlation
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| Russian art, portraiture stopped being
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| | of common details and a particular
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| merely the art of painting family members
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| | selection of the items painted. At first
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| and stopped serving exclusively the
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| | sight, Shishkin's landscapes look so
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| sentimental needs and vanity of
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| | trustworthy that one can get the wrong
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| individuals and families. As a result of
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| | impression of the artist's work. The
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| the itinerants, the very word portrait
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| | artist desires the viewer to believe in
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| acquires new understanding. The reason
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| | the reality of such an existing view.In
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| for the above we find in the definition
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| | this connection, his painting, The Rye,
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| of reconsidered art that achieved vivid
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| | is very typical. The artist selected the
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| social status. Portraits became very
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| | typical natural motives of a central
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| regulated such as the portraits of
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| | Russian landscape: the field of rye, the
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| contemporary heroes, public figures,
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| | road, and mighty oaks. Next he thought
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| common people, peasants, and workers. Art
| |
| | about the composition, trying to get the
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| changed much. Now it served more for
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| | right correlation between the sky and the
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| exhibition purposes rather than purely as
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| | earth, the fore and background, as well
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| private commissions.The name of Pavel
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| | as the right light combination. All these
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| Tretyakov, is closely connected with
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| | details create mighty images that affect
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| establishment of this new art
| |
| | the feelings of the viewer. In this
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| destination. He was a Moscow merchant who
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| | painting the artist truly glorifies the
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| had decided to set up a gallery of the
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| | true beauty and grandeur of Russian
|
| national modern art. He started buying
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| | nature.One must give credit to the
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| itinerants' work, not only at the
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| | Itinerants for the creation of the genre
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| exhibitions, but also unfinished works
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| | of "plein air" painting. Two of the best
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| while they were in an artist's studio.
| |
| | were Polenov and Levitan. Polenov's
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| Tretyakov attended artists' workshops and
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| | artistic manner was much different from
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| often paid money to an artist in order
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| | that of Shishkin. In his paintings Moscow
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| for him to complete the work. Moreover,
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| | Courtyard and Grandmother's Garden, he
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| he commissioned different artists to make
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| | acts as a delicate lyric, entertaining
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| portraits of writers, musicians, actors,
| |
| | storyteller. For the first time in these
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| and other artists in order to leave a
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| | paintings he demonstrated the principles
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| cultural heritage for the generations to
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| | of so-called "plain-air painting."
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| come. His life and the life of his family
| |
| | However, the greatest "plein air"
|
| were very modest as most of his money was
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| | landscape painter in Russian art was
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| spent for paintings. Being so interested
| |
| | Levitan. Considering the power and might
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| in portraiture, he got other artists
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| | of his talent and his contribution to the
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| interested in this genre. Among the
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| | landscape genre he can be compared with
|
| artists working in portrait genre there
| |
| | Repin. His huge creative legacy gives an
|
| are several outstanding masters whose
| |
| | idea about the broad scope of his
|
| names are worthy of mention.Vasiliy Perov
| |
| | interests in the landscape field. Some of
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| was the first who featured mostly in
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| | his works are full of delicate lyrics
|
| psychological portrait the complicated
| |
| | while others have epic and broad
|
| inner world of the person and his soul.
| |
| | generalizations.Issak Levitan had a very
|
| His portraits of Feodor Dostoevskiy and
| |
| | profound understanding of nature. Nature
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| of Alexei Ostrovskiy are considered to be
| |
| | in his opinion holds onto its inner
|
| his best and most famous portraits. The
| |
| | content. He said, "Can anything be more
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| portrait of Dostoevskiy, a great Russian
| |
| | tragic than to feel the endless beauty of
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| writer who tried to penetrate the darkest
| |
| | surroundings, the concealed secrets of
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| parts of a human soul, is of special
| |
| | nature, to see the Lord in everything and
|
| value. Kramskoi used this painting to
| |
| | have no possibility to express such deep
|
| reflect his own understanding of duty and
| |
| | emotions?" These words reveal the modesty
|
| honor of Russian intelligence. He strove
| |
| | of the artist who has created real
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| to reveal the versatile personality of
| |
| | masterpieces but was not satisfied with
|
| the writer.Ivan Kramskoi, being a very
| |
| | himself and who worried about his
|
| talented portraitist, was a prominent
| |
| | inability to achieve perfection. Levitan
|
| public figure and art was not the only
| |
| | confirmed once again that Russian
|
| domain of his activity. Kramskoi was the
| |
| | landscape art demands to be considered as
|
| head of the Society of Traveling Art
| |
| | an object of the highest ideals of art.
|
| Exhibitions from the time it was
| |
| | Many of his paintings contain a
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| established. His particular understanding
| |
| | reflection on people's destiny and the
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| of art as a way of educating people
| |
| | meaning of their life. His paintings are
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| dictated his individual choice of the
| |
| | full of literary associations and
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| model and interpretation of his portrait
| |
| | philosophical ideas such as Over Eternal
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| image. He chose those whom he considered
| |
| | Peace, and Eternal Chime. In an entirely
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| to be an ideal subject and who shared his
| |
| | different manner he created landscapes in
|
| views on the exclusive educational
| |
| | natural beauty, illustrating the waking
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| mission of art. His views coincided with
| |
| | up of nature March and the fading of
|
| general trends and objectives in art - a
| |
| | nature in Golden Autumn. Levitan painted
|
| search of the identifiable person. The
| |
| | typical Russian landscapes, reproducing
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| resulting form of the above social
| |
| | different states of nature correlating
|
| significance of a model was of particular
| |
| | with human emotions.The pictorial freedom
|
| importance for Kramskoi. A fine example
| |
| | of Levitan's creative manner made him
|
| of this approach is the portrait of
| |
| | different from other landscape painters
|
| L.Tolstoy. The ascetic simplicity of the
| |
| | of his time. His last painting, Russia,
|
| writer's image and feeling of serious,
| |
| | was not finished. He dreamed of creating
|
| dramatic thought that dominated Tolstoy
| |
| | the common artistic image of his homeland
|
| was reflected in Kramskoi's opinion on
| |
| | in this painting. Levitan fell deeply in
|
| the writer's destiny.After the death of
| |
| | love with the Motherland as did all of
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| Kramskoi, Nikolai Yaroshenko, who was
| |
| | the Itinerants. They dreamed and believed
|
| called "the conscience of the Itinerants"
| |
| | that their art would give people
|
| for his integrity and adherence to
| |
| | happiness and hope and recognition of the
|
| principles, headed the itinerants'
| |
| | need to develop a high moral ideal in
|
| society. Yaroshenko created his own
| |
| | Russia. The Itinerants held sway over
|
| portrait type, and his representation of
| |
| | Russian art until the first ten years of
|
| a specific model became the basis for his
| |
| | the 20th Century. For me they will always
|
| generalized image of the representation
| |
| | be the best that Russian art has to
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| of the different layers of society. Girl
| |
| | offer. They painted in many styles, but
|
| Student, is typical of Yaroshenko. His
| |
| | they depicted life as they believed it
|
| Portrait of Pelageya Strepetova, a
| |
| | was. They did this at great risk to
|
| Russian tragical actress, is a very good
| |
| | themselves, and it is hoped that finally
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| example of his work. She specialized in
| |
| | Russia stands on the golden threshold of
|
| the roles of the poor and humiliated,
| |
| | freedom that they envisioned for her so
|
| exhausted by life women, and these roles
| |
| | many years ago.Michael E.
|
| left their mark on this portrait. Looking
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| |
|
