Foreign artists of the 18th and 19th centuries. Foreign artists of the 19th century: the most prominent figures of fine art and their legacy

Russian culture accepted the best achievements of the cultures of other countries and peoples, without losing its originality and, in turn, influencing the development of other cultures. For example, Russian religious thought left a significant mark on the history of European peoples. Russian philosophy and theology influenced Western European culture in the first half of the 20th century. thanks to the works of V. Solovyov, S. Bulgakov, P. Florensky, N. Berdyaev, M. Bakunin and many others. Finally, the most important factor that gave a strong impetus to the development of Russian culture was the “thunderstorm of the twelfth year.” The rise of “patriotism in connection with the Patriotic War of 1812 contributed not only to the growth of national self-awareness and the formation of Decembrism, but also to the development of Russian national culture, V. Belinsky wrote: “The year 1812, having shocked all of Russia, aroused the people’s consciousness and people’s pride.” Cultural -the historical process in Russia in the 19th - early 20th centuries has its own characteristics.

The intelligentsia, initially composed of educated people of two privileged classes - the clergy and the nobles, is increasingly participating in the formation of Russian national culture. In the first half of the 18th century. common intellectuals appeared, and in the second half of this century a special social group emerged - the serf intelligentsia (actors, painters, architects, musicians, poets). If in the XVIII - first half of the XIX century. The leading role in culture belongs to the noble intelligentsia, then in the second half of the 19th century. - commoners. People from peasant backgrounds joined the ranks of the intelligentsia (especially after the abolition of serfdom). In general, the raznochintsy included educated representatives of the liberal and democratic bourgeoisie, who did not belong to the nobility, but to the bureaucrats, philistines, merchants and peasants. This explains such an important feature of the culture of Russia in the 19th century as the beginning of the process of its democratization. It manifests itself also. that not only representatives of the privileged classes are gradually becoming cultural figures, although they continue to occupy a leading place. The number of writers, poets, artists, composers, scientists from unprivileged classes, in particular from the serf peasantry, but mainly from among commoners, is increasing.

In the 19th century Literature became the leading area of ​​Russian culture, which was facilitated primarily by its close connection with progressive liberation ideology. Pushkin's ode "Liberty", his "Message to Siberia" to the Decembrists and "Response" to this message of the Decembrist Odoevsky, Ryleev's satire "To the Temporary Worker" (Arakcheev), Lermontov's poem "On the Death of a Poet", Belinsky's letter to Gogol were, in essence, , political pamphlets, militant, revolutionary appeals that inspired progressive youth. The spirit of opposition and struggle inherent in the works of progressive writers in Russia made Russian literature of that time one of the active social forces.

One of the most famous cultural figures of the nineteenth century is Alexander Sergeevich Pushkin.

The first Russian national poet, the founder of all subsequent Russian literature, the beginning of all its beginnings - this is the justly and accurately recognized place and significance of Alexander Sergeevich Pushkin in the development of the Russian art of speech. Pushkin also for the first time, at the highest aesthetic level he achieved, raised his creations to the advanced level of the century’s enlightenment, the European spiritual life of the 19th century, and thereby rightfully introduced Russian literature as another and most significant nationally original literature into the family of the most developed Western literatures at that time .

Pushkin's great discovery was the mastery of reality in all its diversity as a source and material for poetic creativity. They say that Pushkin opened a window to the world in literature. No, this window was opened in Russian poetry before him. He destroyed all the partitions, all the mediastinums that separated poetry from life; Since then, there has been nothing in the world, in society, in nature, in the life of the human soul that would not have become an object of art. He also discovered a method of poetic creativity that allowed the poet not to be an “echo” repeating every sound (there is nothing more wrong than such a flat understanding of Pushkin’s deep and inspired declaration). The sphere of poetry under Pushkin became the most essential in a person’s life - civil and patriotic feats, dreams, the grief of the people, the lyrics of nature and love. The poet illuminated everything with a great thought. That is why Pushkin’s poetry is perceived by us as an integral unity of life, as a unique and grandiose artistic picture of the world.

Pushkin's poetry reflected all the "impressions of life." It echoed his heroic and tragic times, reflections of the battles of the national liberation war, and the aspirations of the rebels on Senate Square. The spirit of European revolutions, peasant revolts - in a word, an era

The current approach to interpreting the poet’s image takes into account the entire experience of studying and interpreting his personality and heritage. Moreover, this experience is not limited to our country. Research into international perceptions and interpretations of Pushkin is expanding. Western scientists, biographers and readers of the poet are increasingly attracted by the peculiarities of Pushkin’s historical thinking, the philosophical motives of his work, the inexhaustibility of his genius, and his amazing proteism. While a number of interpretations offered by Western researchers and commentators on creativity are unambiguous and controversial, they are attracted by the mystery of Pushkin’s spirit. Attention to the artistic heritage and individual works is combined with an increasingly obvious desire to understand the poet as a person. In the uniqueness of genius, the Western world discovers the peculiarities of the Russian character, an example of creative and moral perfection.

“...over two centuries, Pushkin has not become a past, yesterday’s poet, has not turned into a “literary heritage.” According to Yu. M. Lotman’s definition, Pushkin retains the properties of a living interlocutor: he answers questions from those who come into contact with him. great artists, the scientist notes, are like the shadow of Hamlet’s father: they “go ahead and call for them. Pushkin is always the way a new generation of readers needs him, but he is not exhausted by this, he remains something more, with its own secrets, something mysterious and inviting.”

Pushkin lived and worked in the 19th century, and the twentieth century had its most distinguished authors, for example, Mikhail Aleksamndrovich Sholokhov.

The literary world of M. Sholokhov, destroyed by “democratic critics” as a crime of “notorious socialist realism,” is much richer than socialist ideology, and more than it.

The attitude towards Sholokhov and Soviet literature was largely determined by the popular opinion that in the new Russia the very soil that gives rise to great artists had been knocked out, and under Bolshevik power only “the offspring of Demyan Bedny, the “luminary of proletarian culture””, faceless mediocrity, adaptable and reducing fine literature to propaganda ideas and primitive popular propaganda. “An unfortunate country... unable to single out, if not the Tolstoys and Turgenevs, then at least honest people who dare to have their own judgment,” lamented E. Kuskova. “Even their great writer Sholokhov refuses to have it.” Herd. Still an October herd... What a grief this is. And what a shame for a great country...”

The name of Sholokhov, who rose from the bottom and personified the bottom, with his people's Russia, “by definition” deprived not only of the skills of democratic life and free thinking, but also of all signs and rudiments of culture, becomes iconic in the circles of the emigrant political and artistic elite. His arrival is too felt by everyone, but not as a benefit for oneself, but as an inconvenience and even a threat to one’s own existence, for “Quiet Don” is not only a deep doubt about the inviolability of the existing hierarchy of social preferences and priorities, but also their decisive real revision . Therefore, Sholokhov should either be kept silent, or talked about him casually and casually, as if we are talking about an annoying obstacle unworthy of close attention, or, finally, try to disavow his phenomenon by citing the error of “visual perception” - this is not the one for whom we accept him, because where he came from, he cannot exist. “...Can one expect such a masterpiece from a simple Cossack who spent his youth in the village, and even during the civil war,” a certain I.S.G. asked the world with pathos, not doubting the answer. “A secondary combat unit” of our tragic era, Y. Terapiano said with mutual confidence about Sholokhov.

In 1965, Sholokhov was awarded the Nobel Prize, but he never received recognition in Soviet Russia. They said that Sholokhov “in no way” could represent the Russian intelligentsia, the people and Russia before the “face” of the Nobel Committee and the Foundation. Moreover, as the “world community” was assured by “Grani”, the author of “Quiet Don” “adheres to the greatness and nobility of the Russian people” and thereby “disgraces both his greatness and his nobility”, and, of course, for this reason “modern Russian the intelligentsia” “will never forgive Western culture for awarding the Nobel Prize to Sholokhov...”

History is made by people, every second making their own small adjustments to the chain of historical events, but only a few are capable of radically changing it, affecting not only themselves, but also the path along which the whole state will go. There were very few such people throughout the 19th century. It is especially worth noting the heroes of the War of 1812 - Field Marshals Barclay de Tolly and Mikhail Illarionovich Kutuzov, without whom the victorious march of the Russian army through liberated Europe could not have taken place.

A gigantic contribution to the idea of ​​the future October Revolution was made by such great figures and thinkers of the 19th century as Bakunin, Herzen, Zhelyabov, Muravyov, and Pestel. The progressive ideas of these outstanding thinkers formed the basis for many of the actions of great figures of the next century.

The 19th century was the time of the first revolutions, the first attempts to adopt European experience, the time of the emergence in society of thoughts about the need to transform Russia into a Constitutional state. Much work in this direction was carried out by Sergei Yulievich Witte, Egor Frantsevich Kankrin and Mikhail Mikhailovich Speransky. The 19th century was also the time of activity of Nikolai Mikhailovich Karamzin, one of the luminaries of historical thought.

HASHEK Yaroslav

Czech satirist writer

Born into the family of a school teacher. In his youth, he was distinguished by his explosive character and was an indispensable participant in anti-German protests in Prague, various scandals and fights.

He was always the life of the party, a regular at Prague pubs and pubs. In 1902 he graduated with honors from the Trade Academy and got a job at Slavia Bank. In 1903, he quit his job and traveled through the Balkans and Central Europe.

After publishing a collection of poems, May Shouts, in 1903, written together with Ladislav Hajek, and receiving money for his notes, which he wrote during his travels, he decided to become a writer. He quickly gained popularity as the most widely read Czech humorist, publishing in the entertainment sections of daily newspapers and weeklies, humor magazines, and calendars.

In the mid-1900s, he became close to anarchist circles and took part in rallies and went on campaign trips. By 1909 he broke with the anarchist movement.

In 1909 he became editor of the magazine “Animal World”. The calm academic nature of the publication was distasteful to Hasek’s cheerful character, and he decided to please readers with all sorts of discoveries from the life of animals. From his pen came the mysterious “tabu-taburan” living in the Pacific Ocean, a fly with sixteen wings, eight of which it fans itself like a fan, domestic silver-gray ghouls, and an ancient lizard “idiotosaurus”. It is not surprising that he was soon fired from his post as editor. In 1912-1915, the collections “The Good Soldier Schweik and Other Amazing Stories”, “The Sorrows of Pan Tenkrat”, “A Guide for Foreigners”, “My Dog Trade” were published.

Then he opened the Canine Institute, which was essentially just an office selling dogs. Not having the money to buy purebred puppies, he caught mongrels, repainted them and forged their pedigree. This kind of fraud did not last long and ended in court. In general, Hasek’s name often appeared in police reports: “in a drunken state, he relieved himself in front of the police department building”; “while slightly intoxicated, he damaged two iron fences”; “not far from the police station, three street lamps were lit, which had already been extinguished”; “I shot from a children’s scarecrow.” Having introduced himself to the police as Saint John of Nepomuk, 518 years old, he was placed in an insane asylum, where he collected materials for new humoresques. During the First World War, he settled in a Prague hotel and registered as “Lev Nikolaevich Turgenev. Born on November 3, 1885 in the city of Kyiv. Lives in Petrograd. Orthodox. Private employee. Came from Moscow. The purpose of the visit is to inspect the Austrian General Staff.” Having been arrested as a Russian spy, he stated that as a loyal citizen he considered it his duty to check “how the state police functions in this difficult time for the country.”

In 1915 he was drafted into the army and enlisted in the 91st Infantry Regiment, located in Ceske Budejovice. He later described much of what happened to Hasek in the army in the novel “The Adventures of the Good Soldier Schweik.” So, he came to the regiment in military uniform, but with a top hat. He was expelled from the volunteer school for violations of discipline. And the simulation of rheumatism was recognized as an attempt at desertion and was even sentenced to three years, to be served at the end of the war. So Hasek went to the front in a prisoner's carriage.

In the army he received the position of assistant clerk, which allowed him to avoid training and continue his creativity. At the same time, he became quite close friends with the orderly Frantisek Straslipka, who became one of the main prototypes of Schweik. At the front in Galicia he served as a quartermaster, and later was an orderly and platoon liaison. He took part in the battles near Mount Sokal, was awarded a silver medal for bravery and promoted to the rank of corporal. On September 24, 1915, during the counter-offensive of the Russian army in the sector of the 91st regiment, Hasek, together with Strashlipka, voluntarily surrendered.

In captivity, like many other compatriots, he joined the Czechoslovak Legion, which fought on the side of the Russian army. In the summer of 1917, for the battle at Zborov, he was even awarded the St. George Cross of the fourth degree.

After the conclusion of a separate peace between Russia and Germany and the beginning of the evacuation of the Czech corps to Europe through Vladivostok, he went to Moscow, where he joined the Communist Party. In April 1918, he was sent to Samara, where he campaigned among Czechs and Slovaks against evacuation to France, and also called on them to join the Red Army. By the end of May, Hasek's detachment consisted of 120 fighters who took part in battles with units of the White Army and successfully suppressed the anarchist rebellion in Samara. In July, the field court of the Czechoslovak Legion issued an arrest warrant for Hasek as a traitor to the Czech people. After the White Bohemian rebellion, finding himself in territory controlled by Kolchak’s followers, he was forced to hide. Only in September did he cross the front line and in Simbirsk again join the Red Army units.

From October 1918, he was engaged in party, political and administrative work at the political department of the 5th Army of the Eastern Front. In December 1918, he was appointed commandant of the city of Bugulma. He took personal part in the Red Terror. In 1919 he was transferred to Ufa, where he managed a printing house and published the Bolshevik newspaper “Our Way”. There he married an employee of the printing house A.G. Lvovoy. Together with the 5th Army he visited Chelyabinsk, Omsk, Krasnoyarsk, Irkutsk, where he was slightly wounded in an assassination attempt

In Irkutsk he was elected as a deputy of the city council. At the same time, he published the newspapers “Sturm” in German, “Rogam” in Hungarian, “Bulletin of the Political Worker” in Russian and “Ur” (“Dawn”) in Buryat. After the end of the Civil War, Hasek remained in Irkutsk, where he even bought a house. However, at that time a “prohibition law” was in effect in Siberia, which could not but upset the famous drinker. Perhaps this was one of the reasons for returning home.

In December 1920, he and his wife returned to Prague, where, due to his service with the Bolsheviks, he was met with extreme hostility. He found himself almost without a livelihood and even sold on the streets copies of his books that publishers had accumulated during the war. Soon he was again living on advances from publishers, wandering from tavern to tavern. It was in taverns that he wrote his new works, and often read them out there. Constant drinking, two typhus, refusal to follow doctors' recommendations - all this led to a constant deterioration in Hasek's health.

After returning to Prague, he published collections of short stories, “Two Dozen Stories,” “Three Men and a Shark,” and “The Peace Conference and Other Humoresques.” At the same time, he began work on the novel “The Adventures of the Good Soldier Schweik,” which was published in separate editions. The novel was written straight away, and each chapter written was immediately sent to the publisher. Simultaneously with the Czech edition, a translation of the book as the original is published in France, England, and America. By 1922, the first volume of the novel had already gone through four editions, and the second - three.

In August 1921 he moved to the small town of Lipnice, where he continued to actively work on a novel about Schweik. But his health steadily deteriorated. I often had to stop working due to pain. However, the writer worked until the end. The last time he dictated to Schweik was just 5 days before his own death. The novel remained unfinished. On January 3, 1923, Hasek died.

In many cities around the world, streets are named after Jaroslav Hasek, and the number of monuments to Josef Schweik even exceeds the number of monuments to Hasek himself. There are several Hasek museums in the world, including in Russia (in Bugulma). Asteroid 2734 Hasek is named after J. Hasek, and asteroid 7896 Švejk is named after his most famous character.

Second half of the 19th century. - a special period in the development of Russian culture. The years of the reign of Alexander II, who attached great importance to the “independence of the national spirit” in cultural life, were a time of searching for a national path in art and pressing topical social issues. In the 60s, new socio-political forces emerged in Russia - commoners, people from democratic strata, and revolutionary-minded intelligentsia. Revolutionary democratic ideas of A.I. Herzen, N.P. Ogareva, A.F. Pisemsky, N.A. Nekrasova, M.E. Saltykov-Shchedrin, N.G ​​Chernyshevsky, N.A. Dobrolyubov, who stigmatized social vices, significantly influenced the fine arts. The method of advanced Russian literature, and after it the visual arts, was a critical analysis of the surrounding reality and its realistic reflection. Chernyshevsky laid the foundations of aesthetics with his works. His treatise “Aesthetic Relations of Art to Reality” directly states that “beauty is life”, that “the greatest beauty is precisely the beauty encountered by a person in the world of reality, and not the beauty created by art.” They began to demand from the artist “content,” “explanation of life,” and even “a verdict on the phenomena depicted.” The main thing in Russian painting the predominance of moral and social principles over the artistic began. This feature was most clearly manifested in the work of democratically minded artists.

In 1863, the Academy of Arts set a program for a gold medal with a plot from Scandinavian mythology. All thirteen applicants, among them I.N. Kramskoy, K.G Makovsky, A.D. Litovchenko, who did not agree with this program and with programs in general, refused to participate in the competition and left the Academy. Having defiantly left the Academy, the rebels organized the “Artel of Artists”, and in 1870, together with Moscow painters, the “Association of Traveling Art Exhibitions”. Starting from Perov and ending with Levitan, all outstanding representatives of Russian painting were participants in these exhibitions - Itinerants.

For the Russian public, the importance of the Peredvizhniki was enormous - they interested them and taught them to stop in front of the paintings; with their appearance, the connection between Russian society and Russian artists began. Their creativity, consistent with the basic principles of realism, taught the Russian public to see life in art and distinguish truth from lies in it. Here it is worth mentioning two Russian people to whom the Wanderers owe their success and influence: o P.M. Tretyakov and V.V. Stasov. Tretyakov supported Comrade

through purchases and orders, creating the world's only Museum of National Art. “The All-Crushing Colossus” Stasov, who led the national movement in Russian art, was the herald of the aesthetic views of the Wanderers, and many artists owe him creative advice, the choice of subjects for paintings and passionate propaganda of their activities in the press.

Among the first Russian artists who, in the spirit of the progressive press of the 60s, turned their paintings into flagellating sermons, was Vasily Grigorievich Perov(1834-1882). Already in his first painting, “Sermon in a Village,” released in the year of the peasants’ liberation, not a trace of Fedotov’s harmless ridicule remained: the obese landowner, indifferent to the priest’s words, fell asleep on a chair; his young wife, seizing the moment, whispers with her admirer, thereby demonstrating disdain for spiritual values ​​on the part of the “enlightened” society. The next picture, “Procession on Easter,” was quite “Bazarov-esque” in its sharpness and consonant with the darkest accusatory novels of that time.

A procession in full force with banners and icons leaves the tsesovalnik, having just treated themselves there to glory: drunken pilgrims tumble out of the tavern in disarray and splash through the spring slush; the priest, barely moving his feet, leaves the porch with great difficulty; the deacon with the censer stumbled and fell.

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St. Petersburg State Medical University named after Academician I.P. Pavlova

discipline: History of the Fatherland

topic: “Famous figures of Russian culture of the 19th century.”

Performed:

student gr.125

Goncharenko D.A.

Checked:

Zimin I.V.

St. Petersburg 2012

Introduction

2.1 Architecture

2.2 Visual arts

3.1 Architecture and sculpture

3.2 Painting

3.3 Peredvizhniki

4. Art of the late 19th - early 20th centuries

Conclusion

List of used literature

Introduction

The first decades of the 19th century. took place in Russia in the context of a nationwide upsurge associated with the Patriotic War of 1812. The ideals of this time found expression in the poetry of the young A. S. Pushkin. The War of 1812 and the freedom-loving hopes of the younger generation of the Russian nobility, and especially those of its representatives who, having gone through the Napoleonic wars, entered Paris as liberators, largely determined the character of Russian culture in the first third of the century. culture art humanistic

The growing interest in the artistic life of Russia during these years was expressed in the creation of artistic societies and the publication of special magazines: “Free Society of Lovers of Literature, Sciences and Arts” (1801), “Journal of Fine Arts” (first in Moscow and then in St. Petersburg), “ Society for the Encouragement of Artists" (1820), "Russian Museum" by P. P. Svinin (1810s) and "Russian Gallery" in the Hermitage (1825); the formation of provincial art schools, like the school of A. V. Stupin in Arzamas or A. G. Venetsianov in St. Petersburg.

1. Factors in the development of culture in Russia

The serfdom that remained at that time and the general economic backwardness of Russia in comparison with Western European countries hindered cultural progress. And yet, despite these unfavorable conditions and even despite them, Russia in the 19th century made a truly gigantic leap in the development of culture and made an enormous contribution to world culture. This rise of Russian culture was due to a number of factorswww.ru.wikipedia.org:

· the process of formation of the Russian nation in the critical era of transition from feudalism to capitalism

· the beginning of the revolutionary liberation movement in Russia

· close communication and interaction with other cultures

· the influence of the heritage of Muscovite Rus' on the culture of the 19th century: the assimilation of old traditions made it possible to sprout new shoots of creativity in literature, poetry, painting and other spheres of culture

2. Art of the first half of the 19th century

In Russian art of the 19th century. much has changed since the 18th century. As in the West, the social role of the artist, the significance of his personality, and his right to freedom of creativity have increased, in which social and moral problems are now increasingly raised.

The conventional watershed of the history of Russian art has been defined into two stages - its first and second half, and in this latter half it seems quite natural to single out the end of the 19th - beginning of the 20th century. as a period with its own semantic and stylistic characteristics.

Until the middle of the century, there were similarities in the culture of Europe and Russia, but after the middle of the century, the paths of development of artistic culture diverged somewhat. European artists, led by the French, are increasingly immersed in problems of form, searching for and finding new artistic techniques, as the Impressionists and Post-Impressionists brilliantly did. Russian artists perceive art, first of all, as a platform from which “thorny issues of our time” are resolved. Ilyina T.V. History of Russian Art, 5th edition, 2010.

2.1 Architecture

The humanistic ideals of Russian society are reflected in highly civilized examples of architecture and monumental and decorative sculpture, in synthesis with which are decorative painting and applied art, often the creations of the architects themselves. The dominant style of this time was mature, or high, classicism, in scientific literature, often called the “Russian Empire style.” Actually, only the 1820s-1830s can be considered Empire, and the first decade can more accurately be called “Alexander’s classicism.”

The architecture of the first third of the 19th century was, first of all, a solution to large urban planning problems. In St. Petersburg, the layout of the main squares of the capital is being completed: Dvortsovaya and Senate; the best ensembles of the city are created. Especially intense after the fire of 1812t. Moscow is under construction. The architectural image amazes with its majesty and monumentality. Sculpture, which has a certain semantic meaning, plays a huge role in the overall appearance of the building. Among the buildings, the main place is occupied by public buildings: theaters, departments, educational institutions; palaces and temples are built much less frequently (with the exception of regimental cathedrals at the barracks).

The largest architect of this time, Andrei Nikiforovich Voronikhin (1759-1814), began his independent career back in the 1790s. reconstruction of the interiors of the Stroganov Palace on the Moika (architect F.B. Rastrelli) in St. Petersburg (1793, Mineral Cabinet, art gallery, corner hall).

Voronikhin's main brainchild is the Kazan Cathedral (1801-1811). The semicircular colonnade of the temple, which he erected not from the side of the main (western) façade, but from the side northern façade, formed a square in the center of Nevskaya. Voronikhin gave an even more strict, activated character to the Mining Cadet Corps (1806-1811, now the Mining Institute), in which everything is subordinated to a powerful Doric portico of 12 columns facing the Neva.

A. N. Voronikhin, an architect of classicism, devoted a lot of effort to the creation of an urban ensemble, the synthesis of architecture and sculpture, the organic combination of sculptural elements with architectural divisions, both in large and small buildings.

The leading St. Petersburg architect of the first third of the 19th century. (“Russian Empire”) was Karl Ivanovich Rossi G.G. Grimm - Rossi Ensembles - L., 1947 (1775--1849). Rossi received his initial architectural education in the studio of V. F. Brenna, then traveled to Italy, where he studied the monuments of Antiquity. His independent creativity begins in Moscow and continues in Tver. One of the first works in St. Petersburg was the palace and park complex on Elagin Island (1818, completed in 1822). One can say about Rossi that he “thought in ensembles”; a palace or theater was transformed into an urban planning hub of squares and new streets. Thus, when creating the Mikhailovsky Palace (1819-1825), he organized a square in front of the palace and laid out a street on Nevsky Prospekt, while balancing his plan with other nearby buildings - the Mikhailovsky Castle and the space of the Field of Mars. In the design of Palace Square (1819-1829), Rossi faced the most difficult task: to combine Rastrelli’s baroque palace and the monotonous classicist facade of the General Staff building and ministries into a single whole. The architect boldly broke this monotony with the colossal arc of the General Staff building, the center of which was the Triumphal Arch, opening access to Bolshaya Morskaya Street and Nevsky Prospekt.

The new century was marked by the creation of the most important ensembles in St. Petersburg. So, Andreyan Dmitrievich Zakharov G.G. Grimm - Architect Andreyan Zakharov. Life and creativity - M., 1940 (1761 - 1811) student of the St. Petersburg Academy of Arts and student of the Parisian architect J.F. Chalgrena, from 1805 begins construction of the Admiralty building (1806 - 1823).

Zakharov’s compositional solution is extremely simple: a configuration of two volumes, with one volume seemingly embedded in the other, of which the outer, U-shaped, is separated by a channel from two inner outbuildings, L-shaped in plan. The internal volume consists of shipbuilding and drawing workshops, warehouses, the external volume includes departments, administrative institutions, a museum, a library, etc. The facade of the Admiralty stretches for 406 m. The side wing facades face the Neva, the central facade ends in the middle with a triumphal passage arch with a spire, which is the castle of the composition and through which the main entrance runs inside. Zakharov preserved Korobov’s brilliant design for the spire, showing tact and respect for tradition and managing to transform it into a new classicist image of the building as a whole. The monotony of the almost half-kilometer-long façade is broken by evenly spaced porticoes.

HELL. Zakharov died without seeing the Admiralty in its finished form. This building is closely related to the architecture of the city center. Three avenues originate from here: Voznesensky, Gorokhovaya Street, Nevsky Prospekt (this radial system was conceived under Peter I)

2.2 Visual arts

The leading direction of architecture and sculpture in the first third of the 19th century was classicism. In painting it was developed primarily by academic artists - in the historical genre, i.e. plots of the Holy Scriptures, ancient mythology and historical ones. But the true successes of painting lay in a different direction: the aspirations of the human soul, the ups and soaring of the spirit were better expressed by the romantic painting of that time.

But romanticism showed itself most subtly on Russian soil in the genre of portraiture, and the leading place here should be given to Orest Adamovich Kiprensky I.V. Kislyakova - Orest Kiprensky. The era and heroes - M., 1982 (1782-- 1836). The son of the landowner A.S. Dyakonov and a serf, Kiprensky was born in the St. Petersburg province. From 1788 to 1803 he studied (starting at the Educational School) at the Academy of Arts, where he studied in the class of historical painting with Professor G. I. Ugryumov and the French painter G. F. Doyen. In 1805 he received the Big Gold Medal for the painting “Dmitry Donskoy after winning a victory over Mamai.”

Complex, thoughtful, changeable in mood - this is how Kiprensky’s “E. P. Rostopchina" (1809, Tretyakov Gallery), "D. N. Khvostov" (1814, Tretyakov Gallery), boy "L. A. Chelishchev" (1809, Tretyakov Gallery). In a free pose, absentmindedly looking to the side, casually leaning his elbows on a stone bird, stands Colonel of the Life Hussars “E.V. Davydov (1809, Russian Museum). This portrait is perceived as a collective image of a hero of the War of 1812, although it is quite specific.

The founder of the everyday genre was Alexey Gavrilovich Venetsianov (1780-1847). A land surveyor by training, Venetsianov left his service for the sake of painting and moved to St. Petersburg. Became Borovitsky's student. He took his first steps in the “arts” in the portrait genre, creating amazingly poetic, lyrical, sometimes romantic images in pastel, pencil, and oil (“Portrait of V.S. Putyatina”).

At the turn of the 1810s-1820s. Venetsianov left St. Petersburg for the Tver province, where he bought a small estate. Here he found his main theme, devoting himself to depicting peasant life.

Venetsianov was an excellent teacher. The Venetsianov school, the Venetsianovites, are a whole galaxy of artists of the 1820s-1840s who worked with him both in St. Petersburg and on his Safonkovo ​​estate. Representatives of the Venetsian school were A.V. Tyranov, E.F. Krendovsky, K.L. Zelentsov, A.A. Alekseev, S.K. Zaryanko, L.K. Plakhov, N.S. Krylov and many others.

3. Art of the second half of the 19th century

3.1 Architecture and sculpture

Sculpture and architecture developed less rapidly than before during this period. As already mentioned, the late 1830s. classicism is becoming obsolete. The means of his artistic expression contradict the new tasks posed by the architecture of the second half of the 19th century. It was usually called “retrospective stylization”, or eclecticism, but now it is more often called historicism, because at this time artist-architects began to use the motifs and patterns of architectural styles of past eras - Gothic, Renaissance, Baroque, Rococo, etc. D.E. Arkin - Images of architecture - M., 1941.

One of the main problems of that time was the construction of apartment buildings (apartment buildings).

Also, the flowering of monumental and decorative sculpture remained in the first half of the century.

The most famous of the masters of this time was Mark Matveevich Antokolsky (1843-1902), who, as researchers correctly noted, compensates for the lack of monumental means of expression with the depiction of “monumental personalities”: evidence of this is “Ivan the Terrible” (1870), “Peter I” ( 1872), “The Dying Socrates” (1875), “Spinoza” (1882), “Mephistopheles” (1883), “Ermak” (1888). In these images, executed according to a given program, pose, gesture, and facial expressions are always successfully found, but these naturalistic details replace the true expressiveness of sculptural means.

3.2 Painting

In the second half of the 19th century, of all the fine arts, painting, and especially genre painting, had its weighty say. A critical attitude to reality, pronounced civic and moral positions, and an acute social orientation become characteristic especially of painting, in which a new artistic system of vision is being formed, expressed in the so-called critical realism. Most often taking as the basis of the plot the acute social problems that lived in Russian society at that time, the artists acted, in fact, not so much as exponents of these ideas, but rather as their direct illustrators, straightforward interpreters. The social side obscured purely pictorial and plastic tasks from them, and formal culture inevitably declined. As correctly noted, “illustrativeness ruined their painting.”

The true soul of the emerging critical movement in painting was Vasily Grigorievich Perov V.A. Lenyashin - V.G. Perov - M., 1987 (1834-1882), who picked up Fedotov’s case directly from his hands, managed with accusatory pathos to show many aspects of simple everyday life: the unsightly appearance of some clergy (“Rural religious procession on Easter”, 1861; “Tea drinking in Mytishchi", 1862), the hopeless life of Russian peasants ("Farewell to the Dead", 1865; "The Last Tavern at the Outpost", 1868), the life of the urban poor ("Troika", 1866) and the intelligentsia, forced to seek hard work from the "money bags" (“The arrival of a governess at a merchant’s house”, 1866). His works are simple in plot, but poignant in their sorrow.

3.3 Peredvizhniki

In the 1870s. progressive democratic painting is gaining public recognition. She has her own critics - I.N. Kramskoy and V.V., Stasov and her own collector - P.M. Tretyakov. The time for Russian democratic realism to flourish in the second half of the 19th century is coming. At this time, in the center of the official school - the St. Petersburg Academy of Arts - a struggle was also brewing for the right of art to turn to real, actual life, which resulted in the so-called “revolt of the 14” in 1863. A number of Academy graduates refused to paint a programmatic picture on one theme of the Scandinavian epic, when there were so many exciting modern problems around, and, without receiving permission to freely choose a topic, left the Academy, founding the “St. Petersburg Artel of Artists.”

The Artel did not last long, and soon Moscow and St. Petersburg advanced artistic forces united into the Association of Traveling Art Exhibitions (1870).

The art of the Peredvizhniki was an expression of democratic ideas in the Russian artistic culture of the second half of the 19th century.

The “Wanderers” included the “older” ones - Ivan Nikolaevich Kramskoy, Nikolai Nikolaevich Ge, Vasily Vasilyevich Vereshchagin, Konstantin Apollonovich Savitsky, and the “young” ones - Ivan Ivanovich Shishkin, who was called “the nature of the heroic people”, Arkhip Ivanovich Kuindzhi, with its striking lighting effects (“Ukrainian Night”, 1876; “Birch Grove”, 1879), Isaac Ilyich Levitan.

It is worth mentioning Ilya Efimofich Repin. He was born in Ukraine, in the Kharkov province, and learned his first skills from Ukrainian icon painters. Repin considered Kramskoy his first teacher. The first work that caused a strong public reaction was the painting “Barge Haulers on the Volga.”

In 1873, Repin went on a “retirement” trip to France, where, together with Polenov, he painted sketches in the open air and learned a lot about the problems of light and air.

Returning, Repin begins to work fruitfully. There seems to be no genre in which he would not declare himself: portraits of acutely individual characteristics and portraits-types, portraits-pictures.

Repin was subject to almost all genres (he did not paint only battle scenes), all types - painting, graphics, sculpture; he created a wonderful school of painters, declared himself as an art theorist and an extraordinary writer. Repin's work was a typical phenomenon of Russian painting of the second half of the 19th century. It was he who embodied what D.V. Sarabyanov called “peredvizhnik realism”, absorbed everything characteristic that, according to the researcher, was “scattered” across different genres and individuals. And this is the universalism, the encyclopedic nature of the artist. Such complete coincidence with its time in its “adequate implementation” is evidence of the scale and strength of Repin’s talent. See: Sarabyanov, D.V. Repin and Russian painting of the second half of the 19th century - M., 1978

4. Art of the late XIX - early XX centuries

In the 1890s. In connection with the emerging crisis of the populist movement, the “analytical method of realism of the 19th century,” as it is called in Russian science, is also becoming obsolete. During this period, many of the Peredvizhniki artists experienced a creative crisis and retreated into the petty themes of entertaining genre paintings. It should be noted, however, that the best traditions of V. G. Perov were preserved most of all in the Moscow School of Painting, Sculpture and Architecture thanks to the teaching activities of such artists as S. N. Ivanov, K. A. Korovin, V. A. Serov and others .

All types of art - painting, theater, music, architecture - advocated updating the artistic language and achieving high professionalism. The crisis of the Peredvizhniki movement, with its craving for petty topics, was expressed in declarations of ideology and nationality, which, however, were not supported by any aesthetic program. Painters of the turn of the century are characterized by different ways of expression than those of the Wanderers, other forms of artistic creativity - in images that are contradictory, complicated, reflecting modernity without illustrativeness or narrative. Artists painfully search for harmony and beauty in a world that is fundamentally alien to both harmony and beauty. That is why many of them see their mission in cultivating a sense of beauty. But it also gave rise to the universalism of a whole generation of artists who came out after the “classical” Wanderers, an example of which is the work of V. A. Serov and M. A. Vrubel.

The artists of the World of Art association (1898 - 1924) played a major role in popularizing both domestic and Western European art, and in attracting Western European masters to exhibitions. Having gathered the best artistic forces in St. Petersburg, publishing their own magazine, the “miriskusniks” by their very existence contributed to the consolidation of artistic forces in Moscow, the creation of the “Union of Russian Artists” (1903-1323) Ilyina T.V. History of Russian Art, 5th edition, 2010.

Conclusion

Russian fine art, imbued with the advanced ideas of the time, served a great humane goal - the struggle for the liberation of man, for the social reconstruction of the entire society.

In general, in the first half of the 19th century, Russia achieved impressive successes in the field of culture. The world fund will forever include the works of many Russian artists. The process of forming a national culture has been completed.

At the turn of the XIX-XX centuries. modernist searches led to the formation of a group of artists united around the magazine "World of Art" (A.N. Benois, K.A. Somov, E.E. Lansere, L.S. Bakst, N.K. Roerich, I. Z. Grabar and etc.). "The World of Artisans" proclaimed new artistic and aesthetic principles. They promoted individualism, freedom of art from social and political problems. The main thing for them is the beauty and traditions of Russian national culture, which cannot be said about the “Wanderers”.

At the beginning of the 20th century. the "Russian avant-garde" arose. Its representatives K.S. Malevich, P.P. Falk, M.Z. Chagall and others preached the art of “pure” forms and external non-objectivity. They were the forerunners of abstract art and had a huge influence on the development of world art.

Bibliography

1. www.ru.wikipedia.org

2. Ilyina T.V. History of Russian Art 5th edition, 2010

3. G.G. Grimm - Rossi Ensembles - L., 1947

4. G.G.Grimm - Architect Andreyan Zakharov. Life and creativity - M., 1940

5. I.V. Kislyakova - Orest Kiprensky. The era and heroes - M., 1982

6. D.E. Arkin - Images of architecture - M., 1941

7. V.A. Lenyashin - V.G. Perov - M., 1987

8. See: Sarabyanov, D.V. Repin and Russian painting of the second half of the 19th century - M., 1978

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