The artist Ivan Kulikov and questions about the subjects of his paintings on everyday scenes. Kulikov Ivan Semenovich, artist - Murom - history - catalog of articles - unconditional love

I bring to the attention of Russian lovers visual arts a small selection of paintings, unfortunately not very famous in our time, but certainly talented artist Ivan Semenovich KULIKOV (1875 - 1941) with my comments on them.

Self-portrait (1939):

Born in provincial Murom, into a peasant family, I. S. Kulikov, who became a student of I. E. Repin, graduated from the St. Petersburg Academy of Arts. He became famous for his portraits and everyday scenes from peasant life in Russia late XIX- beginning of the twentieth century.

However, there are questions about his paintings .

Here, for example, is a picture, viewing of which prompted me to write this post:

It is called "Winter evening" .

Don't you find anything strange in her? Take a closer look.
If in peasant hut winter evening, then why does yakri shine from the window, clearly daylight, making any internal artificial lighting completely unnecessary?
And, indeed, we do not see here either a kerosene lamp or a torch, not to mention the “Ilyich light bulb.” Yes, there is no need for them. The light from the window is so bright that the light of the lamp under the icons is completely invisible, but women in festive outfits (the boy is also in a red shirt, clearly not an everyday one) are doing needlework.
Explain to me, stupid, how it can be so light outside on a winter evening in Russia.
Or maybe it’s not happening in Russia, but the picture depicts a family of emigrants somewhere in Argentina, Australia or New Zealand Where is winter - is it our summer? By the way, can you tell me whether there are white nights in the south of Australia or Patagonia (after all, let me remind you that the picture depicts a winter evening)? Or did this Russian family have to settle somewhere on Tierra del Fuego?

Here on this canvas ( "In a peasant hut" , 1902) everything is more or less clear. But there are questions for her too.

Again, daylight from the window, a peasant hut, in which some kind of holiday is clearly being celebrated (red shirts were not worn on weekdays, after all); the women drink tea, and the men, apparently, drink something stronger.
The family depicted in the picture is not poor. Such a samovar (look in the lower right corner of the picture) cost a lot of money and was not affordable for any peasant. The kerosene lamp hanging above the table also speaks about this.
But it’s winter here too! Look at a window whose outer frame is covered with snow.
What holiday are celebrated by the characters in I. S Kulikov’s painting on a winter day (the kerosene lamp is not lit, and it’s light outside the window)? Obviously not Christmas or Epiphany (this is all in the evening), hardly Easter (it should be spring). Maybe an engagement? And what? It seems. Why then wouldn’t the artist call his painting that?

Even though the picture "Ancient rite blessing of the bride in the city of Murom" , was painted by I. S. Kulikov 7 years after “In a Peasant Hut”, namely, in 1909, it seems that we see some of the same characters on it, and it is a continuation of the previous canvas:

And again there was bright light from the window. Well, there’s no way an artist can do without this detail!

There is no longer any window with daylight, but again, the picture "The Forester's Family" , written in the same 1909, presents us, if I’m not mistaken, with the same characters:

Did the young couple either run away from the village or go to work in the city, leaving two young children to be raised by their parents? Didn't they take a samovar with a kerosene lamp with them to the city? And also everything that could be grabbed. Pay attention to the hopelessness of the looks of the forester and his wife.
And all because there was no need to indulge the newlyweds!

Bearded man, in this painting by I. S. Kulikov "Happy Holidays (Zardela)" , written in 1911, does not look like a “daughter-in-law”; rather, he looks at her with condemnation.

But the girl with a damask and a mug, very similar to those that were handed out on Khodynskoye Field during the celebrations in honor of the coronation of Nicholas II in 1896 (everyone knows how it ended), clearly has some “backside” thoughts (possibly in relation to her father-in-law).

And so last picture:"Family at the table" :

There are no longer any peasant girls, red shirts, icons or lamps. The artist’s favorite window with daylight is also missing. Instead of a kerosene lamp, there is an electric chandelier above the ceiling.
There is a samovar, although it is also probably electric.
But this tea party is kind of sad.
The head of the family (could it be the author of the picture himself? Another self-portrait?) is reading a magazine, but his thoughts are clearly far from the articles he read about the successes of the second five-year plan. His wife also thinks about her own things, and she cannot be called joyful.
Not like this portrait of 1916 :

Their daughter (?) hunched over the letter (?) is hardly happy about the news of the letter she received...
And what is there in the picture covering the window where there is no more daylight? Is it really a monk in rags against the backdrop of a temple?
The cat that looks like a blot in the lower right corner of the picture makes it completely depressing.
And the date is 1938.

The work of I. S. Kulikov in rescuing historical relics from noble estates Vladimir region, doomed to destruction during Civil War and years of atheism. For which honor and praise be given to him!

Thank you for attention.
Sergey Vorobiev.

Thanks to the work of Russian artists of the 19th century, who were not indifferent to the culture of the ordinary Russian people, today we have an amazing gallery of portraits of Old Believers, we see the archetypes of the Old Testament Great Russian people. Usually, when people talk about paintings dedicated to the Old Believers, they remember Mikhail Nesterov. However, besides him, there were other painters who captured the faces of the Old Faith on their canvases. One of these was the Murom artist Ivan Kulikov.

One of the main themes in the artist’s work was the Russian historical village - portraits ordinary people, who constituted the archetype of the Great Russian people, peasant life, life, customs, traditions of the Old Believers.

The childhood of the future painter

In the second half of the 19th century, the family of peasant Semyon Loginovich and Alexandra Semenovna Kulikov settled in the city of Murom. They came from the village of Afanasovo, Murom district, Kovarditsky volost. Semyon Loginovich Kulikov was a specialist in roofing and painting, and Alexandra Semenovna was a housewife. The Kulikov family had three daughters, and on April 13, 1875, a son was born, who was named Ivan.

Even before entering primary school Ivan mastered the craft of a painter and roofer, learned to paint like marble and deftly carve doors and floors to look like oak or ash. Then the boy entered the district school. His studies were very successful, in addition, he was fond of drawing, made copies of illustrations in magazines, visited icon-painting workshops, and tried to draw from life. The student’s hobbies were noticed by the teacher of drawing and drawing at the district school, the son of the Murom deacon N. A. Tovtsev. In 1889, Ivan Kulikov graduated from college and became a member of the artel, while helping his father in the roofing business, drawing up accounts, and estimates. He beautifully painted ceilings and walls with ornaments and drew from life. But alas, only some of his first sketches and drawings have survived.

Meet famous painters. Academy of Arts

Morozov sometimes spent the summer in Murom, where he took subjects for his works. He paid attention to the abilities young Ivan and recommended that his parents send him to the school of the Society for the Encouragement of Arts at the Academy in St. Petersburg. Already in September 1893, Kulikov came to Moscow for the first time, where he visited Tretyakov Gallery, Rumyantsev Museum, Cathedral of Christ the Savior. In Moscow, Kulikov learned that the main artistic forces concentrated in the St. Petersburg Academy of Arts, which have wonderful collections in the Hermitage and Mikhailovsky Palace works of art foreign and Russian masters.

In November of the same year, he left for St. Petersburg, where he became an assistant in the studio of the artist A. I. Morozov, who at that time taught drawing at the St. Petersburg School of Law, simultaneously fulfilling small orders for illustrations, icons, and portraits. In 1894, Ivan Kulikov was accepted into the school of the Society for the Encouragement of the Arts. Under the guidance of teachers N.I. Makarova, A. F. Afanasyeva,E. K. Lipgart he masters the basics of graphics, painting, perspective and composition.

In the fall of 1896, Ivan Kulikov became a volunteer student at the Academy of Arts, at the artist’s workshop V. E. Makovsky. It is known that less than a month later he moved to I. E. Repin.

In the spring of 1898, at the request of I. E. Repin, Kulikov became a student at the Academy of Arts. B 1901-1902 he took part in the work on the painting by Ilya Efimovich “ State Council meeting"together with B.M. Kustodiev. Ivan Kulikov made seventeen full-scale portrait sketches.

In 1900-1901, Kulikov made about twenty illustrations for the works of Maxim Gorky " Konovalov" And " Twenty six and one", which are located in the Museum-Apartment of A.M. Gorky and in historical art museum city ​​of Murom.

Academician of painting

In November 1902, Ivan Semenovich Kulikov graduated from the Academy of Arts. His competition entry " Tea drinking in a peasant hut"(1902) was awarded the Great Gold Medal and gave him the right to be a personal honorary citizen and the right to travel abroad.

From 1903 to 1905, as a pensioner of the Academy of Arts, Kulikov traveled to Italy and France. In 1905, at the World Exhibition in Liege for “ Portrait of a mother"(1903) Kulikov was awarded the Great Silver Medal, and for his paintings " On a holiday"(1906) and " With lanterns in the garden"(1906) received the A.I. Kuindzhi Prize. In 1915, for a series of paintings about Murom, Kulikov was awarded the title of academician of painting.

Old Believers on Kulikov's canvases

The Russian village is gradually becoming the main theme in the artist’s work: portraits of ordinary people who made up the archetype of the Great Russian people, peasant life, life, customs, and traditions of the Old Believers.

Extreme accuracy in depicting life and everyday life, brightness of colors, rich style, ability to control color, coloristic freshness, psychological depth of portraits, accurate depiction of Old Believer culture - these are the main advantages of Kulikov’s works.

Any belonging to the artist statements regarding the Old Believers were not noticed, but his spiritual aspiration to the world of the Old Faith is reflected in many of his paintings.

After 1917, Kulikov continues to depict the life of the Russian people. Ivan Semenovich always avoided any tragic, sad subjects. And he himself was a cheerful, friendly, open person who loved life.

Life and creativity in Murom

Around 1919, Ivan Semenovich returned to his native Murom. He worked at the Murom Museum; for a long time headed the art department.

Ivan Kulikov enthusiastically collected paintings, drawings, sculptures, decorative objects from abandoned palaces and noble estates doomed to destruction. applied arts, archival documents, books and other evidence of a rich past. It is to the painter Ivan Kulikov that our culture owes the salvation of the unique collections of Counts Uvarov in the village of Karacharovo (Murom Territory).

The artist's wife was Elizaveta Arkadyevna, née Sokolova. The wife of her mother’s brother was the niece of the famous inventor in the field of television V.K. Zvorykin. The families communicated a lot and carried on active correspondence. The image of his wife was captured by Kulikov on canvases “ In Russian attire», « At the outskirts», « Portrait of E. A. Kulikova"and others.

IN different years, among other works, Kulikov painted portraits of: pilot V.P. Chkalov (1940), writer Maxim Gorky (1939), artist A.L. Durov (1911), archaeologist A.S. Uvarov.

In his last years, Ivan Semenovich worked at his small homeland: from 1930 he taught at the Murom art studio, and there and in the village of Pavlovo he contributed to the founding of local history museums.

Memory

Ivan Semenovich Kulikov died on December 15, 1941 in Murom. In 1947, in the house built by Kulikov’s father, where his family had lived since 1885, the artist’s memorial House-Museum was opened. In 2007, by decision of local authorities, the museum was closed, all exhibits were transported to the Murom Historical and Art Museum. The house is located in private property descendants of the artist.

The artist’s only daughter, Tatyana, a teacher of Russian language and literature, married N. A. Bespalov, an architect, watercolor artist, Honored Architect of the RSFSR. Tanya’s image is also reflected in the artist’s paintings “ Portrait of a daughter"and others. It is noteworthy that he made a pencil portrait of his future matchmaker, turner Andrei Nikolaevich Bespalov, back in 1934.

Gallery of paintings by I. S. Kulikov:

Ivan Maksimovich KULIKOV (1928), member of the Union of Artists of Russia, teacher at the Penza Art School named after. K. A. Savitsky, Honored Teacher of Russia, celebrates his seventieth birthday with a personal art exhibition.

In 1955, landscapes appeared at the regional exhibition for the first time young artist, starting his journey in art. A little later, the color linocuts “On the Sura”, “The Thaw”, “By the Night” were exhibited at the Republican and All-Union exhibitions. Successfully begun creativity is not interrupted throughout life. And today, works full of vitality emerge from his workshop.
The work of Ivan Maksimovich is a wonderful fusion of devotion to the chosen theme once and for all, gained through years of love for the life of his native Penza land and its people.

He was born in the ancient Russian village of Cossack Peletma. On pieces of paper I tried to draw what was so disturbing to my soul. And the boy’s deeply hidden dream of becoming an artist gradually took hold in him. In 1943 he came to Penza and entered art school. His first teachers were famous artists I. S. Goryushkin-Sorokopudov, N. K. Krasnov, M. E. Valukin, M. V. Bunchin. With my heart and attentive attitude To the young man they taught him the ability to see beauty in the simplest things.

Then there were years of study at the graphic department of the Kharkov Art Institute with artists G. A. Bondarenko, V. F. Mironenko, E. L. Egorov. Here, for I.M. Kulikov, much was revealed in the understanding of composition, its rhythm in the expression of feelings. And this was reflected in his diploma work, a series of autolithographs “Native Land”.

The biography of the artist, whose work began in the 60s, reflected the biography of the time, of the entire people. In addition to the adversities and hardships that befell him, in addition to the experience of peasant labor, he carried within himself moral purity and had a civil, demanding attitude towards life.

The artist chose a complex graphic technique - linocut, which requires special diligence, a sense of silhouette, line, clarity of composition and, most importantly, the willpower necessary to complete the work. He knows that a work will live only if it passes through the artist’s soul and is felt to the end.

Before starting to execute the graphic sheet, long preparation is carried out. This is a collection of material, which means trips around the region, numerous sketches from nature, deep compositional searches, where Ivan Maksimovich thinks through and checks everything down to the details.

The main place in the artist’s work is occupied by the landscape. He himself defines his love for nature this way: “Every stone, blade of grass and flower, lake or river, Birch Grove, tracts of forests and endless fields inspire the human soul
true love for one's native place. And you think: how happy and proud you are that you were born and live among this majestic beauty of Russia!”

Almost all the works of I.M. Kulikov, especially such as “Earth” and “Arable land” reveal the author’s attraction to epic landscapes, wide horizons, expanse, which evoke philosophical reflection, a sense of belonging to the earth, and worries about its fate.

Cranes. 1962

The landscape “Cranes” reveals the beauty of the vast expanse of earth and sky. We involuntarily think about each of our own. Here you can especially feel the romantic attitude of the artist, whose works are characterized by beauty and spirituality. The completeness of the figurative solution is an internal necessity for him.

Sometimes an artist searches long and hard for his unique correct solution one or another motive, striving for its utmost expressiveness. It was precisely this kind of expressiveness that he achieved in the sheets “Rye.” “Bread is Ripening.” These are monumental and classical landscapes. The composition is built simply and seamlessly. At the first glance at these works, we feel undivided love for the Motherland until our hearts ache. The same motif can be seen in the sheet “Winter Crops”, where we again see the expanses of the Russian land with fields of winter crops. The author is observant and truthful in conveying the state of nature.

High artistic skill helps the master to put his ideas into a very perfect form, expressed by specific means of graphics. Color plays an important role in the emotional expressiveness of linocuts and autolithographs. Cleverly found color combinations together with black strokes give the sheets a unique expressiveness.

Along with the laconicism that he so strives for, there is a deep poetic content in his works. A wonderful example of this is the linocut “Field”. When you look at her nervously, it seems that you yourself are rolling into the endless distance in this small bus along the road winding between the fields, and admiring the sprawling expanses of your native land.

Almost all landscape paintings are poeticized and demonstrate the ability to convey an amazing state of peace in nature. Take a look at "Winter Evening". The falling pink twilight enveloped small houses, the smoke of their native village and tractors hauling trailers with hay. In the Linocut “Fine Morning”, every detail helps the viewer to feel the very nature of life in the village with its simple everyday life. The same feelings permeate us when looking at the sheet “Native Village, in which the most usual life rises to poetry. Of course, only a deep attachment to these places helps the author evoke in the viewer lyrical feelings and nostalgic memories of distant childhood. You look at the sheets “Spring Waters, “Spring”, and you involuntarily think: the nature of this land is inexhaustible! Truly, the land of Penza for I.M. Kulikov is a storehouse of themes.

Baikal. 1975

The artist travels a lot around the country, has been to Novorossiysk, the Caucasus, the Urals, and Baikal. And he brought drawings and watercolor sketches from everywhere, conveying the features of those places.
But... this is what the artist himself says: “I have been to many places in Russia, I have seen its beautiful, majestic landscapes, their beauty captured my soul, but after each separation it becomes even more dear and closer native side. I think there are no places more beautiful in nature than the Sursky land.”

In the Lesnovyas region. 1975

Often, to show the multicolored nature of his native land, he turns to watercolors. The artist has a lot of such sheets (watercolors) brought from trips to Penza places: “River Kolyshleika”, “Stozhok”, “Forest Vyass”, “In the floodplain”, “Before the rain”, “Edge of the forest”, “Poim”, “ Autumn".

Autumn. 1996

Infinitely familiar motifs: village houses, very cozy in the greenery of fields, trees and vegetable gardens. But these simple motifs are not quite usually read; they do not lose their vitality, their sweet charm, which flows into the subtle picturesqueness of the surrounding world.

Sunflowers. 1923

Like any other artist, Ivan Maksimovich Kulikov is interested in people. Drawing the village, the expanses of fields, forests, he also draws people who are interesting to him for their destinies. And how good his drawings are! - This live communication with nature and people. They reveal the high level of the artist’s skill.

Wind. 1992

The work of I. M. Kulikov cannot be considered outside pedagogical activity at the Penza Art School. He instilled in many of his students a love of beauty and art, sharing with them both knowledge and own experience. “Raising young shoots,” the artist believes, “is a serious matter, and if you don’t work creatively yourself, it’s unlikely that anything will work out. The teacher’s personal example, his active creative work is also the education of a young artist. You have to work hard to stay in shape.” Every summer he goes to his father’s places with their expanse and silence, so understandable to him, well-trodden far and wide.

The works of I.M. Kulikov are, of course, biographical. But at the same time, the most important thing remains the personality of the creator, his understanding of the world. He doesn't just talk about village life, about nature and people, and elevates his story to poetry.

Ivan Maksimovich is always on the move, figuratively and literally. His art is constantly revealed in new works, new impressions come into his life. He's all in his promised land, among the colors he had loved since childhood, among honest and courageous people.

V. A. BALASHOVA, art critic. 1998

Peasant's Duma. 1965

I am sure that years will pass, but the works of Ivan Maksimovich KULIKOV will forever remain in the annals of Russian realistic art and will serve as an example of a serious attitude towards oneself, one’s chosen profession, and an example of love for one’s Fatherland.

V. P. SAZONOV,
Director of the Penza Art Gallery

Ivan Maksimovich KULIKOV has been leading a large community service. provides methodological assistance to general education and art schools region, is one of the leading organizers of exhibitions of children's creativity.

His thoughtful, objective position in evaluating the drawing inspires the child’s soul, instills in him a high sense of patriotism, love and beauty for everything earthly.

I'm proud working together with a recognized master.

Y. V. POLYAKOV.

The oldest Methodologist of the Department of Culture of the Penza Region.

Mushrooms. 1978

The graphics of I. Kulikov, filled with such beauty of Russia, have entered the graphic art of the f*-c public and are enjoying well-deserved success.

From many of the master’s sheets comes the warmth of a heart forever in love with the land of his childhood, in the expanse of the Sursky expanses, in the songfulness of the Penza land, its forests, fields and cities.

Yu. I. NEKHOROSHEV,

artist, art critic. Moscow city.

Oriental. 1993

THEM. KULIKOV is a romantic in his view of the world. Best works The artist is characterized by a sublime worldview, beauty, spirituality and imagery. In his work he is sincere and remains himself.

L. N. BUYALSKAYA.

It was fate that we were together post-war difficult years studied at PCU named after. K.A. Savitsky, and then at the Kharkov Art Institute. Ivan Kulikov skillfully combines his creativity with teaching work. Here in the city of Penza the artist’s talent is growing stronger. He becomes a participant in large art exhibitions.

N. M. SIDOROV.

People's Artist of the Russian Federation I.Penza

AND M. KULIKOV is a knowledgeable, experienced teacher and artist whose works breathe life truth, sincerity and skill.

O. M. SAVOSTYUK,

People's Artist of the USSR, full member of the Academy of Arts, professor at the Moscow Art Institute. IN AND. Surikov.

Moscow June 1997

I always want to stop in front of the works of the artist I.M. Kulikov and read their amazing, kind content.

R. I. LEBEDEV.

Honored Artist of Russia, professor, teacher at the Moscow State Art Institute. IN AND. Surikov."

The works of Ivan Maksimovich KULIKOV show high skill; he is a subtle connoisseur of composition. Real, filial love The works of the master breathe back to their native places. On his canvases the vast expanses of the fields, the expanses of the Russian land.

Journalist L.Yu. GORYUNOV A.I.M. MANUILOV.

Candidate of Philosophical Sciences. Penza.

My first teacher in drawing and painting during my years of study at the Penza Art School was the artist Ivan Maksimovich KULIKOV. there I became acquainted with his work, which amazes with its sincerity and ability to discover beauty in a simple Russian motif.

His works are filled with lyricism, warmth, love for his native land, to the people who live there.

I really love his works, they are simple and understandable to people.

Ivan Maksimovich Kulikov - shining example a worthy combination of creative work and teaching activity.

B. D. BORISOV.

Honored school teacher of the Russian Federation. Penza.

Ivan Semyonovich Kulikov. 1 (13) April 1875 - 15 December 1941


Self-portrait. 1896
70 years ago, on December 15, 1941, the original Russian artist, master of landscapes and genre paintings, passed away.
scenes Ivan Semyonovich Kulikov.

Creativity of the Murom artist

Biography and work of Ivan Semenovich Kulikov (1875 - 1941)
Ivan Semenovich Kulikov was born in Murom on April 13, 1875 into a simple working family. Since childhood, he helped his father with painting work. In his autobiography, written later, for the Academy of Arts, and located in the Russian State Historical Archive, he writes that at first he was engaged in painting and drawing at home, without any guidance.

The first model. 1896

The first teacher I.S. Kulikova Alexander Ivanovich Morozov was one of the genre painters of the 60s. In January 1894, Ivan Semenovich Kulikov was admitted, on the recommendation of Morozov, to the drawing school of the Imperial Society for the Encouragement of the Arts, where he stayed for 3 years.

Village tailors. 1897

In November 1896, the artist submitted a request to enter the workshop of I.E. Repin, where he was transferred in November 1896 on the recommendation of E.K. von Liphart, and in the spring of 1898 he became a student at the Higher Art School.

Old lady from Nezhilovka. 1898

Close ties united many young students of Repin’s workshop. One of the closest friends of I.S. Kulikov from the Higher Art School can, without a doubt, be called B.M. Kustodieva.

Portrait of B.M. Kustodiev. 1899

They both influenced each other's work:

Peasant woman with a saucer. 1899

On November 1, 1902, I.S. Kulikov graduated from the Academy of Arts and for his works “Portrait of the Architect V.A. Shchuko" and "Tea drinking in a peasant hut" received gold medal and the title of artist.

Portrait of the architect V.A. Shchuko. 1902

In a peasant hut. 1902

In August 1903, Kulikov went abroad as a pensioner. Report for the first year of I.S.’s retirement trip. Kulikov's works were exhibited at the "Spring Exhibition".

Portrait of my mother. 1903

Portrait of E.N. Chirikov. 1904

Bazaar in Murom. 1907

In 1908, students of I.E. Repin are united in the Community of Artists, which, according to the artist I.I. Brodsky, replaces the Union of Artists. Ivan Semenovich joins his friends in the workshop. Since 1909, the artist became one of the active members of the Society named after A.I. Kuindzhi.

Market at the carousel. 1908

Bazaar with bagels. 1910

I.S. Kulikov was famous artist at the beginning of the twentieth century, and many art collectors purchased his works for their collections. A.L. Durov, on one of his visits to Murom, in 1911, where he performed at the famous Murom Fair, ordered his portrait from the artist.

Portrait of A.L. Durov. 1911

In 1906 I.S. Kulikov was awarded first prize at the competition named after A.I. Kuindzhi for such genre works, like “On a holiday” and “With lanterns in the garden.”

On a holiday. 1906

With lanterns in the garden. 1906

Among genre compositions I.S. Kulikov’s work “Feeding the Chickens”, performed by the artist in 1907, is no less interesting. This plot was quite popular at the beginning of the century and periodically appeared in various interpretations at exhibitions.

Feeding chickens 1907

The girl depicted on the river bank is harmoniously integrated into the landscape. “The Dreamer” is what the artist called this painting. The work was exhibited at the Spring Exhibition in 1906, and then was reproduced in the Niva magazine for the same year. Foreign exhibitions can be considered a triumphant march of this painting. "The Dreamer" was exhibited at international exhibitions- in Munich in 1907, and then in the same year in Hamburg.

Dreamer. 1905

Painting by I.S. Kulikov's "Bride's Dress", awarded at a competition at the Imperial Society for the Encouragement of the Arts and now in the Yaroslavl Art Museum, represents a classic version of the wedding ceremony in Rus' at the beginning of the twentieth century.

Bride's attire. 1907

In 1912, the canvas “Bird Cherry” was created, one of the portraits of the artist’s wife E.A. Kulikova, which was also exhibited at exhibitions under the name “Spring”.

Bird cherry. 1912

Immediately after the revolution I.S. Kulikov worked on decoration cities for revolutionary festivities. In January 1919, he organized a museum for visitors in Murom (MIHM) and served as its director for several years.
The artist listens sensitively to the trends of the times; in the 20s, Kulikov painted portraits of Komsomol members.

International Youth Day. 1929

What inspirational faces! Directly "OURS". If we had not grown up in the era of developed socialism, it would have been simply pleasant to look at this propaganda. IN artistically I don't see anything outstanding here. No dynamics, some dummies with Mosin rifles.
But the portrait of a Komsomol member, an athlete and just beautiful girl obviously a success! I like!

Sportswoman. 1929

Continuing the Komsomol and youth theme, Kulikov creates a picture with an unusual title for today: “Jungsturm” (1929). The title of the picture apparently reflects the beginning of rapprochement between Germany and the USSR in the military-technical and political spheres in the late 20s. At this time, factories were created in the USSR to produce aircraft of German designers (Junkers), and German cadets were accepted into military institutions (Lipetsk).

Jungsturm. 1929

The artist did not ignore the theme of leaders.

Portrait of Lenin. 1924

Portrait of pilot V.P. Chkalov, in my opinion, cannot be counted among the leaders. This is just a living, thinking person, Kulikov reproduced him so well.

Portrait of pilot V.P. Chkalov. 1938

The most last work he can be considered an artist multi-figure composition""Exit of the Nizhny Novgorod militia in 1612"". He studies the history of the 17th century, creates a number of sketches of weapons, military equipment, costumes, and what could be used in the picture. At the beginning of the Great Patriotic War I.S. Kulikov continues to work on the topic, considering it relevant to himself, but unexpected death prevents him from finishing the work.

Exit of the Nizhny Novgorod militia. 1941

The text is partially from the article by S.M. Kulikova "Murom artist I.S. Kulikov", Magazine "Nizhny Novgorod Museum":

Self-portrait

Russian and Soviet artist, academician of the Imperial Academy of Painting, recognized master genre painting and portrait painter.

Artist Ivan Semyonovich Kulikov was born in April 1875 in the city of Murom. His parents (Semyon Loginovich Kulikov and Alexandra Semyonovna Savinova) came to the city from the village of Afanasovo, Murom district, in search of better life. The father of the future artist was a specialist in painting and a good roofer; very soon he created and headed a small artel for the construction and repair of residential buildings, churches, and administrative buildings.

In 1893, Vanya Kulikov, on the recommendation of his drawing and drawing teacher, met the artist A.I. Morozov, who sometimes came to Murom for the summer. It was Morozov who strongly recommended that Ivan’s parents send young man Petersburg, to the school of the Society for the Encouragement of Arts at the Imperial Academy.

In the fall, Ivan Kulikov goes to the capital and becomes an assistant and student of A.I. Morozov, who prepares the student for admission to the school of the Society for the Encouragement of the Arts.

Since 1894, Ivan Semyonovich became a student of the Society for the Encouragement of Arts, and two years later he entered the Academy of Arts as a volunteer. In 1898, at the request of I.E. Repin, Kulikov becomes a full student of the Academy, and accepts Active participation in the work of I.E. Repin and B.M. Kustodieva over the painting “Meeting of the State Council”, writes illustrations for the works of Maxim Gorky.

In 1902, Ivan Semyonovich graduated from the Academy and presented his competition work “Tea drinking in a peasant hut.” For this painting, the young artist receives a Big Gold Medal and the right to travel abroad at government expense.

From 1903 to 1905, Kulikov lived and worked in Europe, visiting Italy and France.

In 1915, for a series of paintings about hometown Murom waders artist was awarded the title of academician.

After the revolution, the artist settled in Murom, worked in the local museum, and with great enthusiasm collected paintings, sculptures, objects of applied art, books, and documents from abandoned estates and houses. It was thanks to the efforts of Ivan Semyonovich Kulikov that our culture managed to preserve a huge number of real cultural relics.

The artist died in December 1941 and was buried in the cemetery of his hometown.

Paintings by artist Ivan Semenovich Kulikov

Happy Holidays (Zardela) (1911)
An ancient ceremony of blessing the bride in the city of Murom (1909)
In the boyar's chamber (1906-1907) Gathering of the Bride (1907)
On a Winter Evening (1907) "Return from the City (1914) Girl with a Tues (1912)
Murom monasteries (1914)
Fair in Murom (1910-1912)
Fair (1910)
Bazaar with bagels (1910)
Bazaar in Murom (1907) Three Maidens (1907)
Feeding the Chickens (1907) On a holiday (1906) Portrait of My Mother (1903) Italian Women (1905)
In a peasant hut (1902)
Portrait of E.N. Chirikova (1904) Portrait of a Mother (1896) The Carpenter (Egor Tereshkin) (1916) Portrait of an Old Believer (Old Man Reading) (1911) In Russian attire (1916) “Portrait of Andrianov” (1929) "International Youth Day" (1929) Portrait of T.I. Kulikova (1938) Cockfight (1938) Pavlovsk handicraftsman (1937) Jungsturm (1929) Seller of Pavlovsk goods (sobenschik) (1936) Sportswoman (1929)
Family at the Table (1938)