In 1863 fourteen best artists graduates of the St. Petersburg Academy of Arts, admitted to the competition for a large gold medal, demanded from the academic authorities the right to freely choose the theme of the competition picture in accordance with the inclinations of each. (And they were given one mythological and one classical landscape scene.) Having been refused, the "rebels" withdrew from the Academy and organized the St. Petersburg "Artel of Artists". It was the first independent new art organization.

By the 70s new aesthetic ideas so captured the minds of Russian artists that there was a need to unite realist artists from all over Russia in order to purposefully put into practice the principles dear to everyone. The idea of ​​the Association of Traveling Exhibitions, proposed by G. G. Myasoedov, V. G. Perov, N. N. Ge and I. N. Kramskoy, was warmly approved by the artists of Moscow and St. Petersburg.

Wanderers - artists who were part of the Russian democratic artistic association Association of traveling xxy commendable exhibitions. (TPKhV), created in 1870. on the initiative of V. Perov. The first exhibition took place in 1871. The Wanderers experienced the impact of public and aesthetic views V. Belinsky and N. Chernyshevsky. The critic V. Stasov played an important role in shaping their creative program. P. Tretyakov financially supported the Wanderers, acquiring their works for his gallery. The Wanderers were staunch realists, and the program of folk art put forward by them was expressed in the depiction of typical aspects and multifaceted characters of social life, often with a critical tendency (“Zemstvo is having lunch” by G. Myasoedov, 1872, “Meeting the Icon” by K. Savitsky, 1878). The Wanderers show not only poverty, but also the beauty of folk life ("The sorcerer's arrival at a peasant wedding" by V. Maksimov, 1875), not only suffering, but also stamina in the face of life's adversities, courage and strength of character ("Barge haulers on the Volga" And .Repin, 1873), the wealth and grandeur of native nature (landscapes by A. Savrasov, I. Shishkin, I. Levitan), heroic pages of national history (paintings by V. Surikov) and liberation popular movement("The arrest of a propagandist", 1892; "Refusal of confession", 1885; "They did not wait", 1888, I. Repin). Great importance in their work they acquire a socially everyday portrait ("Cursist" N. Yaroshenko, 1883), a landscape, and later - historical painting, where the main actor the people are performing ("Morning of the Streltsy Execution" by V. Surikov, 1881). The images of Russian folk fairy-tale fantasy come to life on the canvases of V. Vasnetsov. The works of V. Surikov, I. Repin, N. Ge, V. Vasnetsov, I. Shishkin, I. Levitan, representing the pinnacles of itinerant realism, are distinguished by a free, wide manner of writing, the transmission of light and air with the help of reflexes, colored shadows, freedom and variety of compositional solutions. The last 48th exhibition of the TPHV took place in 1923.

Perov Vasily Grigorievich

Years of life: 1834 - 1882

Genre painter, portrait painter. Born in Tobolsk in the family of a lawyer GK Kridener. Perov was considered illegitimate, since his parents were married after his birth. He partially spent his childhood in Arzamas, where he studied at the school of A.V. Stupin (1846-1849, intermittently). In 1853 he entered the Moscow School of Painting and Sculpture. Experiencing material need, he met the support of the teacher E.Ya.Vasiliev. Perov's teachers were M.I.Scotti, A.N. Mokritsky, S.K.Zaryanko, classmate and friend - I.M. Pryanishnikov.

Already in his early work, Perov acted as an artist of a socially critical orientation. In 1858, his painting "Arrival of a Policeman for Investigation" (1857, State Tretyakov Gallery) was awarded a Large Silver Medal, then he received a Small Gold Medal for the painting "First Rank. Son of a Deacon, Produced to Collegiate Registrars" (1860, location unknown). The first works of Perov were a great success at exhibitions. For the final competition, Perov wanted to write "Rural religious procession at Easter", but the sketch was not approved. Continuing to work on this plot, Perov simultaneously prepared the painting Sermon in the Village (1861, State Tretyakov Gallery). Its critical content was not expressed so directly, and the author was awarded the Big Gold Medal and the right to travel abroad. In 1862, he exhibited at the Society for the Encouragement of Artists in St. Petersburg "Rural Procession at Easter" (1861, State Tretyakov Gallery), but the painting was removed from the exhibition with a ban on bringing it to fame. The lack of spirituality of church pastors, the darkness, ignorance and unbelief of the people - the content of this work, in terms of the power of denunciation, does not know its equal in previous Russian painting. By this time, Perov's artistic language is freed from student shackles, and we can talk about his novelty. means of expression. Various elements of the picture submitted to the task of realistic reflection of the observed and deeply meaningful life situation.

In 1862, the "Tea Party in Mytishchi near Moscow" (TG) was completed - another striking example of critical realism2. Having gone abroad, the artist settled in Paris. Here, "Parisian rag-pickers" (1864, Russian Museum), "Organ-grinder" (1863, State Tretyakov Gallery), "Savoyar" (1864, State Tretyakov Gallery, repetition - KMRI), "Seller of Songbooks" (sketches - State Tretyakov Gallery and the TASSR Museum) were written. However, "not knowing either the people, or their way of life, or character," Perov did not see the benefit of working in France and asked for permission to return home ahead of schedule. He received permission to continue his retirement in Russia and in 1864 he moved to Moscow. Perov's work in the second half of the 1860s is diverse in subject matter. Still containing a socially caustic content, it also acquired clear lyrical notes. During this period, many outstanding works artist: "Seeing the dead man" ("The funeral of a peasant", 1865, State Tretyakov Gallery), "The arrival of a governess in a merchant's house", "Troika" (both 1866, State Tretyakov Gallery), "The Drowned Woman" (1867, State Tretyakov Gallery), " The last tavern at the outpost" (1868, State Tretyakov Gallery).

A mature master of the everyday genre and a deep psychologist, Perov appears in a number of cases both as a subtle landscape painter and as the author of outstanding portraits - A.N. Ostrovsky (1871, Tretyakov Gallery), F.M. Dostoevsky (1872, Tretyakov Gallery) and others. At the turn of the 1860s-1870s, Perov became one of the initiators and active figures of the art exhibitions. From 1871 until the end of his life he taught at the Moscow School of Painting and Sculpture. In the 1870s household genre Perov acquired a new direction. Now the artist was especially attracted to social and psychological types people ("Wanderer", 1870, State Tretyakov Gallery; "Birds", 1870, State Tretyakov Gallery; "Hunters at Rest", 1871, State Tretyakov Gallery, repetition of 1877 - State Russian Museum). In 1876, the painting "Monastic Meal" was also completed, begun in the 1860s. For several years the artist worked on historical canvas"The Court of Pugachev" (1879, State Russian Museum, variant 1875 - State Historical Museum, sketches - State Tretyakov Gallery). Perov's contribution to art mid-nineteenth century is extremely weighty. In his works, the features of Russian critical realism of this time were clearly manifested.

ALEXEY KONDRATIEVICH SAVRASOV

Alexei Kondratievich Savrasov (1830-1897) - a remarkable Russian landscape painter, one of the founding members of the Association of the Wanderers, was born in Moscow.

Alexei Kondratievich Savrasov was born on May 24, 1830 in the family of a Moscow merchant of the third guild.

In early youth, the future artist reveals extraordinary abilities for painting. Contrary to the wishes of his father, who dreamed of "adapting his son to commercial affairs", Savrasov in 1844 enters Moscow School painting and sculpture. In 1848, in the reports of the Moscow Council art society mention is made of the successes of the best student of the perspective and landscape class A. K. Savrasov, who is led by the famous Moscow "photographer" K. I. Rabus.

At the expense of I. V. Likhachev, a patron of the arts, a member of the Council of the Moscow Art Society, Savrasov, among the students, traveled to the south of Russia in the summer of 1849 and painted views of Odessa and Little Russia. For the program work of this year, the artist was awarded a commendation sheet, and on September 25, 1850, he graduated from the College and received the title of a non-class artist for the paintings "View of the Moscow Kremlin in the moonlight" and "Stone by a small stream."

Savrasov's first landscapes are directly related to the traditions of the academic school. In academic landscape painting 40-50s dominated romantic direction, the teacher Savrasov was also close to him. In the youthful works of Savrasov - "View of Moscow from the Sparrow Hills" (1848, Tretyakov Gallery), "View of the Kremlin in inclement weather" (1851, Tretyakov Gallery) - the external influence of romanticism affected. However, Savrasov's landscapes were distinguished by lively observations and sincerity of feelings.

In the summer of 1854, the artist works near the Gulf of Finland near St. Petersburg. At the autumn exhibition at the Academy of Arts (October 6, 1854), two of his paintings attracted attention: "View in the vicinity of Oranienbaum" and " Coast in the vicinity of Oranienbaum", for which the artist is awarded the title of academician.

In Moscow, Savrasov again participates in exhibitions of the School of Painting and Sculpture, and after the death of his teacher in 1857, he becomes the head of the landscape class. Teaching is going well, Savrasov is surrounded by loving friends and students.

In the same year, he marries Sofya Karlovna Hertz, the sister of a famous archaeologist and art historian. Artists, artists, patrons (including P.M. Tretyakov) gather in their house, literary novelties are read, lively conversations and disputes are held on issues that worried Russian society at that time.

A.K.Savrasov was especially friendly with V.G.Perov, the initiator of the creation of the Association of Traveling Exhibitions. V. G. Perov helped the artist to paint the figures of barge haulers in the painting "Volga near Yuryevets", while Savrasov painted the landscape in Perov's paintings "Bird Catchers" and "Hunters at Rest".

Association of Traveling Art Exhibitions was most active in the last third of the 19th century. The paintings of the members of the society are imbued with the spirit of realism, the artists are turned to the present, and that is why they are valuable. And they are talented, see for yourself.

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This painting is built on shades, not blues, not pinks, but shades of grey. Everything is covered in darkness - no, it's not true. A bright night, because the air is clean, there is no one, there are no smokes and reflections of cities. Night - there is life, there is no sound. Civilization is somewhere out there, beyond the horizon. Kuindzhi knew how to show the breadth of his native land, and the bright colors of a small stage.

summer picture- this is not at all necessary “mignonette and riza of porridge”, it is not always a bouquet on the terrace. Summer view - southern view. Roses and the sea, or mountains and pines. Levitan's sketch opens a series of summer publications.

essays based on paintings by famous artists on the site

Not a wolf top, a gray barrel, but a natural monster, Fenrir, a forest monster from fairy tales northern peoples- such a truly FANTASTIC wolf in the picture of Viktor Vasnetsov. And as for the human characters, there is also something to analyze. It is hard for us, adults, to relive a fairy tale, but it is also difficult to fully understand the artist, her, the fairy tale, who draws. Let's try, however.

essays based on paintings by famous artists on the site

Alyonushka from Vasnetsov's painting is not an easy heroine. This work, for all the ordinary nature of the landscape, for all the fame of the fairy tale, is difficult to understand. So there is no need to understand. Should be worried. It's like listening to a fairy tale.

essays based on paintings by famous artists on the site

Excellent in the elegance of color, ingenious in simplicity and semantic content of the plot, the painting by Isaac Levitan, it would seem, is just a “photographic snapshot” of a landscape with water, a bridge, a forest in which the bell towers and churches of the “Quiet Convent” are hidden. But let's think about the symbols and signs.

essays based on paintings by famous artists on the site

Levitan's painting “Spring. big water» is calm and joyful. Winter has already left, and all the snow has melted, and there was so much that it flooded houses and lowlands, and the boat became the only transport in some places ...

essays based on paintings by famous artists on the site

The picture of Viktor Vasnetsov, which showed the viewer a new, unusual, poignant and tragic art, is deceptively simple. Let's try to catch the meaning invested by the artist, although so many years have passed.

essays based on paintings by famous artists on the site

The Russian landscape in one of the most colorful manifestations is the damp after-storm calmness of the painting “Wet Meadow” Fyodor Vasiliev full of meaning. The painting can rightfully be considered one of the gems of the Tretyakov Gallery.

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Rebels from painting

From legends and myths - to everyday images, whether they are peasants, the Central Russian landscape or prominent people country. Realism versus academicism. Inspired by the ideas of populism and tired of the framework of the Academy of Arts, at the end of the 19th century, painters united in a creative community and traveled around the country with their paintings. Let's remember the history of the Wanderers together with Natalia Letnikova.

picturesque riot. Fourteen of the best graduates of the Imperial Academy of Arts preferred the freedom of creativity to the Big Gold Medal. They refused to paint a picture on the German-Scandinavian story about a feast in Valhalla, considering the proposed topic too far from reality. The rebels asked free theme. Having received a refusal, they left the audience, which disrupted the competition for the 100th anniversary of the Academy. The artists sent a request to issue diplomas corresponding to the medals already received.

Illarion Moshkov. View of the Imperial Academy of Arts. OK. 1800

Group of artists of the Association of Traveling Art Exhibitions. 1885

Ivan Kramskoy. Collection of the Artel of Artists. 1860s

"Artel of Artists". In 1863, young painters led by Ivan Kramskoy created the first creative association in the history of Russian art. The main idea proclaimed realism and social orientation. Instead of theatricality and mythology. Sofya Prokhorova, Kramskoy's wife, led a common household in a house on Vasilyevsky Island. Artel workers took orders, gave drawing lessons, discussed problems on Thursdays contemporary art. The idea of ​​a "commune" was undermined by the financial issue and the resumption of cooperation with the Academy by some artels. Outraged, Kramskoy left the Artel, and the community fell into decline.

Wandering artists. Seven years after the formation of the Artel, the Association of Traveling Art Exhibitions replaced it. Inspired by the idea of ​​populism, Moscow and St. Petersburg painters united and took up educational work and the organization of exhibitions. The Wanderers opposed their work to academicism. The famous critic Vladimir Stasov warmly welcomed the free community in Russian art. “A very remarkable phenomenon for Russian art,” Mikhail Saltykov-Shchedrin called the undertaking of the Wanderers.

Kramskoy and the best of the best. Vasily Perov, Alexei Savrasov, Ivan Shishkin, Ilya Repin, Nikolai Ge, Vasily Polenov, Viktor and Apollinary Vasnetsov, Vasily Surikov, Arkhip Kuindzhi, Isaac Levitan, Vladimir and Konstantin Makovsky, Valentin Serov ... Portrait painters, representatives of everyday and classical genre, masters of quiet landscapes and historians from painting, theater artists and muralists. Wanderers - the color of the Russian visual arts end of the nineteenth century.

Joseph Volkov. Portrait of A.K. Savrasov. 1884. State Tretyakov Gallery

Viktor Vasnetsov. Self-portrait. 1873. State Tretyakov Gallery

Ilya Repin. Self-portrait. 1887. State Tretyakov Gallery

Ilya Repin. Portrait of V.D. Polenov. 1877. State Tretyakov Gallery

Vasily Surikov. Self-portrait. 1879. State Tretyakov Gallery

Charter - for the benefit of the people. The organization of traveling art exhibitions in all cities of the empire became main task communities. The charter of the community was approved in 1870. The Wanderers went with their works and ideas about painting "to the people." The artists wanted to acquaint the inhabitants of the province with modern Russian art, and at the same time sell their paintings. Thus, the paintings left St. Petersburg, the walls of the Academy of Arts and went beyond the galleries.

First exhibition. “The exhibition is amazing not only because of its beautiful intention - it is also amazing because of its excellent implementation ... These are people with the same talent as before, but only their heads are different”- wrote Vladimir Stasov. In 1871, the exhibition opened in St. Petersburg and traveled to Moscow, Kyiv and Kharkov in two months. Half of the 46 paintings and drawings were purchased before the exposition began. Vernissage had not only public outcry, but also financial success. hitherto unknown to painters.

Ivan Kramskoy. Portrait of I.I. Shishkin. 1880. Timing

Valentin Serov. Self-portrait. 1880s Private collection

Nikolay Yaroshenko. Portrait of N.N. Ge. 1890. Timing

Ivan Kramskoy. Portrait of A.I. Kuindzhi. 1872. State Tretyakov Gallery

Ivan Kramskoy. Portrait of V.G. Perov. 1881. Timing

Art cooperative. The democratic solution of pressing issues by voting and the general budget are the main organizing principles of the Wanderers. Already after the first exhibition, four thousand rubles were divided among the participants of the partnership. Unheard of business. Prior to this, the income from the exhibitions of the Academy of Arts, which barely reached five thousand rubles a year, went to the state treasury. The artists themselves did not receive any compensation. And according to the charter of the Wanderers, only 5% of the cost of the picture and the money for tickets went to the general box office. The rest is fees.

Exhibition cruises. « People's exhibitions» traveled to many cities. "For the development of love for art in society." Yaroslavl, Tula, Saratov, Voronezh, Riga, Chisinau, Kazan, Odessa, Kyiv... In total, during the existence of the Wanderers community, artists organized about fifty exhibitions. The paintings that were not sold at the main exhibitions were sent further - on a trip around the country. Only the first parallel exhibition visited 12 cities of Russia. So artists gained fame in remote corners and financial well-being.

Generation conflict. Members of the partnership - venerable, honored founding fathers and budding artists - exhibitors. For example, among the latter was the author of the famous painting "The Apotheosis of War" Ivan Kramskoy. Unknown. 1883. State Tretyakov Gallery

Paintings from an exhibition. "A close circle of the best artists and good people, diligence and complete freedom and independence - this is grace!- Pavel Tretyakov wrote to Kramskoy. Pavel Mikhailovich supported the creative association, and this is confirmed by the canvases of the Wanderers in the collection of the famous patron. For example, the opening of the first exhibition - a painting by Alexei Savrasov "The Rooks Have Arrived" - was bought by the collector here. “Sold” was also indicated on the painting by Nikolai Ge “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof”, and on many other paintings that now make up a significant part of the Tretyakov Gallery collection.

Students of the Higher Art School of Painting, Sculpture and Architecture at the Imperial Academy of Arts annually took part in the competition for cash prizes and awards. There are three prizes: 100, 75 and 50 rubles. Two awards: 25 and 15 rubles. The works were presented under the slogans own themes. The competition was held twice a year: in January and April.

GOLD NAMED MEDALS ESTABLISHED WITH DONATED CAPITAL:

At the end of the academic year, two students of the architectural department who showed excellent success in mechanics were awarded gold medals named after N.A. Demidov (the medal was instituted on January 9, 1771).

Three gold medal competitions were held in autumn in October:

1. Golden medal named after A.F. Rzhevskaya (established on January 29, 1771) was awarded for work on the instructions of the Academic Council: for painters - a head with paints in life size, for sculptors - a full-size round head.

2. Lebrun Gold Medal (established March 18, 1843). An honorary free partner of the Imperial Academy of Arts, a French subject, the artist Vigée-Lebrun, bequeathed 100 francs annually “for knocking out a gold medal with the inscription “In memory of the grateful Lebrun” on one side, on the other side - with a palette with brushes, overshadowed sunbeams for the award of one of the students in the painting class for the written head, especially expressive.

3. Gold medal named after A.A. Ivanov, established in 1906 by collegiate assessor A.S. Raevsky in commemoration of the centenary of the birth of the artist A.A. Ivanova […] was awarded not only to “students of the Higher Art School at the Imperial Academy of Arts, but also to volunteers for a sketch of a human figure distinguished by its impeccable correctness of drawing and liveliness of colors. open sky(it doesn't matter - dressed or naked, whole or bust, any size).

The founders of these medals contributed significant capital to the Academy, from which only part of the interest was spent on awards, and the fixed capital increased over the years. So, the capitals of Rzhevskaya and Demidov, which amounted to 2000 rubles in 1771, by January 1, 1914 amounted to 5448 rubles 62 kopecks, the capital of A.F. Raevsky, which amounted to 1000 rubles in 1906, by January 1, 1914 amounted to 1286 rubles 58 kopecks, etc.

ALLOWANCES AND SCHOLARSHIPS:

On the basis of petitions under the decision of the Council of the School, "insufficient students" were given benefits in the amount of 10 rubles. The amount of allowances given out was determined by necessity.

Every year in November, the Council awarded 43 scholarships to the most diligent and successful students, the total amount of which was 12,904 rubles. Scholarships were issued only for 1 year, after which the School Council, depending on the success of the scholarship holder, either extended the scholarship or transferred it to a more deserving one.

The most significant scholarships were: H.I.V. Sovereign Emperor, the Kingdom of Poland, the Ministry of State Peasants, as well as scholarships from the contributions of donors, for example:

Scholarship named after Professor of the Imperial Academy of Arts I. K. Aivazovsky, established in 1900 by the Feodosia city public administration to commemorate the sixty years of artistic activity of an honorary citizen of the city of Feodosia;

I.K. Aivazovsky. “A capital in the amount of 6,000 rubles is kept forever in the Feodosiya branch of the State Bank and interest from it, for withholding a fee in favor of the treasury, is annually applied for a scholarship in order to be able to receive special education those young men from among the inhabitants of the city of Feodosia and its district, who will show their outstanding abilities in the field of art, which glorified I.K. Aivazovsky. The right to appoint a scholarship holder is granted to the Feodosiya City Public Administration”;

Scholarship of the painter I.A. Akimov, adjunct rector of the Imperial Academy of Arts, was established in 1814 according to a will that stated: “I leave 15,000 rubles for the Imperial Academy of Arts, so that from this amount, forever stored in a bank or pawnshop, three pupils of my name from the poor artistic children whose fathers were brought up at the Academy”;

Scholarship named after N.L. Benois was established in 1886 by the St. Petersburg City Duma, whose councilors decided: “In commemoration of the 50th anniversary of public service a member of the City Council and a vowel of the City Duma N.L. Benois and taking into account his long and useful activity for the urban population, to allocate from the city funds annually 300 rubles for a scholarship named after N.L. Benois at the Imperial Academy of Arts, with the provision of N.L. Benois the right to appoint a fellow in his name. After the death of N.L. Benois, the appointment of the scholarship holder passed to the Charity Commission.

"REVOLT OF FOURTEEN"

14 graduate students of the Imperial Academy of Arts, headed by I.N. Kramskoy turned to the Council of the Academy with a request to allow them to independently choose the plots of the paintings for participation in the competition for the Big Gold Medal. Since the founding of the Academy of Arts, mythological or biblical events have been proposed for examination work. The gold medal gave the right to a 6-year trip to Italy paid by the state.

“Academicians and their professors lived at the same time, but existed in different registers. The contestants wanted in their future works to answer the pressing questions that have arisen before society here and now. They were interested in a short time of history. The professors, abstracting from the burning problems of our time, thought in other temporal categories: they were preoccupied with the problem of creating a “grand style” in monumental art and, although they were not alien to creative quests, they considered realism a transient matter. They lived a great time in history, because they perfectly understood that monumental art is created over decades and outlives its time and its creators, but the creators, unfortunately, rarely manage to live up to the completion of their plan. […]

The collision was dramatic. Both the contestants and the professors had their own reasons, in the truth of which they were convinced. On the one hand, the artists' disregard for the topical and urgent problems of our time alienated Russian art from Russian society, turning the Academy of Arts into an unfortunate and very painful anachronism for society. If the artist does not answer the questions that concern the audience, then why do they need him at all? Society, for example, was very worried about whether pupils of secondary educational institutions could be flogged with rods and whether this would be violence against their personality, whether ancient languages ​​were needed in real life or maybe instead of Latin and Ancient Greek, it is worth learning new languages. The audience was primarily interested in what is depicted on the canvas, and only then - how it is written. The content of the picture prevailed over the form, so any creative search in the field of "grand style" and the conscious desire of the Council to protect high art from the invasion of "base elements" - all this could not claim to be audience sympathy and public interest. On the other hand, the collapse of the connection of times between teachers and students deprived the national school of the monumental art of the future, threatened the very fact of the further existence high art addressed not so much to contemporaries as to descendants.

And the Council refused its graduates. Then 14 graduates refused to participate in the competition and were asked to give them diplomas with the title " freelance artists”, which deprived them of possible future orders received through the Academy. Those who graduated from the Academy were awarded diplomas of class artist of the II second degree. The Emperor Alexander II was informed about the "rebellion of the fourteen" - the highest command followed immediately. On December 2, 1863, the Minister of the Imperial Court, Adjutant General Count Vladimir Fedorovich Adlerberg, who was in charge of the Academy of Arts, sent the St. Petersburg military Governor General Prince A.A. Suvorov official letter […]. A similar letter was then sent from the office of the Ministry of the Imperial Court to the chief of the gendarmes and the commander-in-chief of the Third Department of His Imperial Majesty's Own Chancellery, Prince Vasily Andreevich Dolgorukov. From December 13, 1863, all participants in the “revolt of the fourteen” were under double covert surveillance: the Artel of Artists was looked after by the ordinary city police and, in parallel, the “blue uniforms” from the Third Section, as the secret political police were called, spied on it. This was done by the highest order. However, before Karakozov's shot at the sovereign, there were still a few years left, and the times were "vegetarian". The authorities limited themselves to supervision and did not take any repressive measures against artel workers. In the same year, the artists united in the "Petersburg Artel of Artists", whose work was subsequently continued by the "Association of Traveling Art Exhibitions".

Ekshkut S.A., Gang of Wanderers. History of one creative union, M., 2008

Minister of the Imperial Court, Adjutant General Count V.F. Adlerberg - to the St. Petersburg military governor-general, Prince A.A. Suvorov:

“Dear Sovereign Prince Alexander Arkadyevich. The thirteen students of the Imperial Academy of Arts and one sculptor named in the attached list, who were invited to the Meeting of the Academic Council to explain to them the programs of the competition for gold medals of the 1st denomination, by mutual agreement refused to participate in the competition and are now undertaking, as it recently came to my information, to form a special society, under the guise of studying art, independently of the Academy, in opposition to its superiors. By the highest command, I have the honor to inform Your Grace about this for a dependent order to secretly monitor the actions of these young people and the direction of the society formed ... Accept, Gracious Sovereign, assurances of my perfect respect and devotion. Signed by Gr. V. Adlerberg.

Ekshkut S.A. A band of wanderers. The history of one creative union. M., 2008

THE FIRST EXHIBITION OF THE Wanderers AT THE ACADEMY

On November 29 (December 11), 1871, the first exhibition of Wanderers opened at the St. Petersburg Academy of Arts - painters and sculptors of a realistic, democratic direction, who were members of the largest Russian creative association "Association of Traveling Art Exhibitions" (TPKhV). […]

The artel of free artists for a number of years was a kind of artistic center in St. Petersburg, opposing the Academy. At the end of 1869, Moscow artists (V. G. Perov, V. E. Makovsky, I. M. Pryanishnikov, A. K. Savrasov) suggested that the St. Petersburg Artel unite together and form a new society. In 1870, the "Association of Traveling Art Exhibitions", the ideological inspirer of which was Kramskoy, approved by the government, began its activities.

The Statute of the TPES stated that the members of the Association should conduct their material affairs themselves, not depending on anyone in this respect, as well as arrange exhibitions themselves and take them to different cities (“move” them around Russia) in order to acquaint the country with Russian art. Both of these points became decisive in shaping the principles and style of artists, making art independent of the authorities and bringing it closer to the population of the whole country.

The first general meeting of the Association took place on December 6 (18), 1870, and the first exhibition opened on November 29 (December 11), 1870 and was valid until January 2 (14), 1871. 16 artists performed at the exhibition (V.F. Ammon, S. N. Ammosov, A. P. Bogolyubov, N. N. Ge, K. F. Gun, L. L. Kamenev, F. F. Kamensky (sculptor), M. K. Klodt, M. P. Klodt , I. N. Kramskoy, V. M. Maksimov, G. G. Myasoedov, V. G. Perov, I. M. Pryanishnikov, A. K. Savrasov, I. I. Shishkin.), showing 47 works. All genres were represented - historical, household, landscape, portrait.

In his letter to the young artist Vasiliev, who was forced to live in the Crimea due to illness, Kramskoy wrote: “Now I will share the news with you. We have opened an exhibition... and it is a success, at least Petersburg is all about it. It's the city's biggest news story, according to the papers. Ge reigns decisively, then Perov and even call your obedient servant. Savrasov's landscape is the best, and it is really beautiful, although Bogolyubov, and Baron Klodt, and Shishkin are right there. But these are all trees, water and even air, and the soul is only in Rooks.

The first exhibition of the TPHV made an unprecedented impression and caused a very large influx of spectators for that time. The exhibition was perceived as a programmatic performance of democratic artists; the press welcomed precisely its educational, ideological and democratic character, the activity of the intrusion of artists into life, their connection with the liberation movement.

After St. Petersburg, the exhibition moved to Moscow, then to Kyiv and Kharkov. In the future, exhibitions of the Wanderers were held annually in many cities of Russia, and the last, 48th, took place in Moscow in 1923 […]

In the 1870-80s. The activities of the Association reached its peak. It united almost all the most talented artistic forces country. […].

CRITIC V.V. STASOV ABOUT THE EXHIBITION OF THE Wanderers

“The biggest art news at present in St. Petersburg is a traveling exhibition. Whichever way you look at it, everywhere it is something special and unprecedented: both the original idea, and the goal, and the concerted effort of the artists themselves, for whom no one from outside set the tone, and an amazing collection of excellent works, among which several stars shine first-class size - all this has not been heard or seen, all this is an amazing novelty.

Who could have imagined until recently that there would come - and even very soon - such times when Russian artists would no longer want to confine themselves to one personal business, would no longer want to sit only in their workshops, taking out paintings and statues from there from time to time, so that to sell them, and then again locking themselves in the workshops - far from the world, deaf to everything that is going on in it, and not knowing how life beats in it; that they, these artists, whom everyone imagined as carefree revelers, naive guys who knew only the “divine Raphael” and the future buyer, occupied only with the plaster Hercules and their picture, or vague rantings with a comrade about the “ideal” and “art” - that they suddenly abandon their artistic holes and want to plunge into the ocean of real life, join its impulses and aspirations, think about other people, their comrades! More than once, it is true, this occurred to others, and we ourselves, the writers of these lines, more than once urged our artists to this, tried to outline their task for them; but no one, of course, thought that so soon the artists would respond to the call and, in addition to the palette and the chisel, would also take the general and their own work into their own hands.

It seems to us that the last thing is the most important - the determination of artists to unite, to form their own environment and mass […]”.

tired of the academic monopoly in the visual arts for a long time, strove for independence creative work. One way or another, the creation of the membership of the united artists was facilitated by the interest of many artists to really bring art closer to the masses, thereby ensuring their independence from various institutions, patrons and organizations patronized by the government. In 1863, 14 graduate artists, headed by I. Kramskoy, refused to paint a graduation picture on the proposed mythological theme A feast in Valhalla and demanded to choose the plot of the painting themselves, which they were categorically refused, after which many artists defiantly left the academy. The solution was this: that it was necessary to form an independent artel of artists in the style of communes, independent of the academic monopoly, the Union of Russian Artists. It did not last long and broke up after 7 years, although by this time in 1870 a new movement was born - the partnership of the Wanderers or the partnership of traveling art exhibitions TPHV and their movement around the cities of Russia, this is an association of professional artists. The work of the Wanderers brought together many artists in unity and ideological positions, rejection of academism with its decorative landscapes, fake theatricality and various mythology. Russian Wanderers sought to show in their works the ideological side of fine art, which was valued much higher than aesthetic, setting themselves the task of broadly promoting fine art, the purpose of which was the social and aesthetic education of the masses, bringing them closer to the life of democratic art. Reveal the truth in your pictures living life the oppressed peasantry, suffering from the power of the landowners and the rich, this was the main task. Many of the works of the Wanderers were painted from nature in the style of genre painting, while other works were painted under the imagination from real life. Russian Wanderers demonstrated with great persuasiveness the existence of a new creative movement at the first exhibition that opened, gradually emerging from the 60s. At this exhibition, the painting of the Wanderers was demonstrated - paintings by many famous artists in all popular genres: portrait, landscape and historical genre. In total, 47 exhibits were exhibited that turned academic ideas about painting upside down, this was the first step in the success of the Wanderers who showed their paintings in a different dimension. By this time, the academy had undergone some changes. as the old settings gradually receded into the past. At that time, I.I. Tolstoy, the vice-president of the academy, having understood the whole situation of what was happening, softened his old demands and even gradually began to get closer to the Wanderers, offering them teaching at the academy. Among the invited were such well-known artists as Shishkin and Kuindzhi, as landscape painting in an independent genre began to gain momentum and by the age of 90 had greatly strengthened its position. Of course, one should not forget about the positive role of the Academy of Arts as educational institution alumni of which are many famous artists. Famous graduates of the academy were taught by their favorite teacher P. P. Chistyakov. All artists who were members of the TPES union had equal duties and rights, including newly joined members of the community who were accepted after successful completion exhibitions. evaluated by the jury members also had the same rights as those who entered earlier.
Many paintings by artists of the Wanderers were bought by the famous philanthropist Pavel Mikhailovich Tretyakov (1832-1898). Tretyakov began collecting paintings from 1856, later this collection of paintings reached the level of a museum collection by 90. Tretyakov himself was kind to the painting and art of the Wanderers, respected the hard work of artists, almost all of his fortune was invested in the paintings of the Wanderers. Subsequently, the entire collection of paintings became the property of Moscow. Today it is the world-famous Tretyakov Gallery, which presents Russian painting, graphics and portrait masterpieces of the best famous artists that left a bright mark on the history of Russian fine art of the 18th - 19th centuries. In the state Tretyakov Gallery and to this day an important document is kept in the archive of manuscripts on the creation of members of the partnership, fixed by 23 signatures of famous artists.

Famous artists of the Wanderers

Kramskoy Ivan Nikolaevich (1837 - 1887) famous painter, one of the main reformers in art, known for his anti-academic activities, advocating in favor of the free development of young artists. Kramskoy is the main founder and founder of the TPHV. Without Kramskoy it is impossible to imagine all those undertakings artistic culture with its latest transformations, which revealed to the masses the whole truth of life in art. Ivan Kramskoy is a remarkable master of the portrait genre, he painted a number of famous portraits: L. N. Tolstoy, M. E. Saltykov - Shchedrin, Sofya Nikolaevna Kramskoy, Portrait of an unknown beautiful stranger, portrait of Nekrasov, A. D. Litovchenko, I. I. Shishkin and others. His famous picture of Christ in the desert caused a storm of emotions and long-lasting controversy. In this picture, Kramskoy wanted to show a dramatic situation. moral choice, in which there is no deviation from the chosen path.
Vasily Grigoryevich Perov (1834-1882) Perov's paintings are imbued with genuine tragedy: Old parents at the grave of their son, Troika. His famous paintings are Tea drinking in Mytishchi, The arrival of the police officer for the investigation, The last tavern at the outpost. Many of the master's early works are imbued with a critical, accusatory perception, representing pictorial caricatures, in which the clergy are also involved. Fine portraits of contemporaries famous writers Turgenev, Dostoevsky and Ostrovsky. The Russian artist Peredvizhnik, like no one else, revealed in his works the spirit of ideology and freedom of creative choice.
Alexei Kondratievich Savrasov (1830-1897) Master of the lyrical Russian landscape, his famous painting Rooks flew in, having managed to reveal in this picture all the subtle beauty of the Russian landscape, inspired by extraordinary lyricism, which turned all contemporaries' ideas about native Russian nature upside down. His other paintings are equally popular Forest Road, At the Gates of the Monastery, Spring Day. After Savrasov, the Lyrical landscape gained the peak of popularity among other artists. I. Levitan spoke about Savrasov like this: Savrasov tried to find those intimate ones in the most simple and ordinary. deeply touching, often sad features that are so strongly felt in our native landscape and so irresistibly affect the soul. With Savrasov, lyricism appeared in landscape painting and boundless love for his native land.
Ge Nikolay Nikolaevich 1831-1894 One of the leaders and organizers of the Association of the Wanderers, who broke his creative work with the monopoly of academism. Ge adherent national history, his picture: Peter I interrogates Tsarevich Alexei in Peterhof, brought him tangible success and popularity of his contemporaries. Some of his works were not so successful: Catherine II at the coffin of Elizabeth, A. Pushkin in the village of Mikhailovsky. Ge was often dissatisfied with many works, he did not complete all of them to the end, he simply destroyed the picture of Mercy, having difficulty experiencing his failures. The picture brought him fame: Exit from the Last Supper, which became one of the best works, which excited his contemporaries with its expressiveness. Such paintings as What is Truth?, Christ and Pilate were criticized by the clergy, for which they were removed from the exhibition. Works of the Sanhedrin Court. "Guilty to death!, the Crucifixion, they were simply not allowed to exhibit and were forbidden to demonstrate.
Vasnetsov Viktor Mikhailovich 1848-1926 Master painter, portrait and landscape painter, theater artist. Member of the Wanderers since 1878. One of the first remarkable Russian artists, the work of the artist Vasnetsov was drawn to Russian folklore, he created many canvases on the theme of Russian history, folk tales and epics. For some time, Vasnetsov also worked for the theater creating various scenery and costumes for plays and fairy tales, which had a huge impact on the development of theatrical and decorative art in Russia. In his famous works, he sought to convey the epic character of Rus', inspired by sincere poetry, imbued with a deeply national perception of his native antiquity. His notable works in this genre: After the battle of Igor Svyatoslavich with the Polovtsians, painting Alyonushka, Ivan Tsarevich on gray wolf, Bogatyrs, Tsar Ivan Vasilyevich the Terrible and many other works. Many of these canvases played a huge role in the development of Russian national painting.
Fyodor Alexandrovich Vasiliev (1850-1873) The work of this young artist lived a small short life, enriched Russian painting with many landscapes, such as Wet meadow, Thaw, In the Crimean mountains, Swamp in autumn. Vasiliev was able to show in his works the nature of the transitional state from a bad weather to a solar state. Favorite motifs in his paintings are God-forgotten country roads, ravines, potholes, dilapidated peasant houses grown into the ground. Before Vasiliev and Savrasov, Russian artists depicted Swiss, Italian views, and native Russian places were considered unworthy of embodiment. Vasiliev managed to reveal in the landscape the state of the dull Russian nature, reflecting its true beauty, forcing contemporaries to admire the beauty of nature that had not been seen before in the village.
Ivan Ivanovich Shishkin (1832-1898) A famous artist, a unique master of forest landscapes, his paintings are known to a very wide public. Shishkin, like no one else, loved the nature of the forest with its colorful shades of tree trunks, bright glades lit by the sun and airiness. Shishkin's famous paintings: Morning in a pine forest an entertaining genre plot, conceived by the artist in the picture, largely contributed to its popularity, complete peace of mind painting Rye where golden rye is earing from edge to edge, guarded by mighty giant pines, A stream in the forest is a beautifully detailed picture, with rich light and shade contrasts, Ship Grove, which depicts the Afonasovskaya ship grove located not far from Yelabuga, the work embodies all life experience and the finest knowledge of native nature, which was accumulated by the master over a long creative life Many of his paintings gained immense popularity not only among his contemporaries, these paintings are known today to a large circle of admirers of his work. No one before Shishkin, with such stunning frankness, told the viewer about his love for his native Russian nature. The works of I. I. Shishkin became classics of national Russian landscape painting and gained immense popularity. Today, images of his landscapes can be seen in many places on various reproductions, gift boxes, souvenir boxes and even sweets with famous bears, all this speaks of Great love people to his great creativity.
Arkhip Ivanovich Kuindzhi (1841-1910) His canvases depict paintings with picturesque colors of flowers and light. Rays of light breaking through the fog, playing in puddles on muddy roads, noticeably emphasize the artist's skill in conveying some of the picturesque techniques of moonlight, the mysterious light of the moon on a dark night, the bright red reflections of dawn on the walls of Ukrainian huts. Kuindzhi's famous painting Night attracts with the calm grandeur of nature, the Dnieper in the morning, the picture describes the plot of an early steppe morning, Birch Grove - in this picture, the artist showed Russian nature in a hitherto unseen method of painting, revealing a sublime image of the landscape, sparkling with unusual color and contrast of pure colors. Kuindzhi found his own unique, independent path in the art of landscape.
Isaac Ilyich Levitan (1860-1900) A magnificent master of quiet and calm landscapes. Levitan loved his native nature, often he retired with her, finding in her an understanding of her beauty, which was reflected in his landscapes. Levitan, even in not very good weather, he found his rare colorful shades of Russian bad weather. Singing the nature of the Upper Volga, he showed the world his beautiful masterpieces: Gloomy day, After the rain, Above eternal rest, masterfully painted evening landscapes: Golden autumn, Evening on the Volga, Golden reach, Evening, Quiet abode, Evening ringing. Levitan's paintings require careful thoughtfulness; they cannot be quickly examined without comprehending the whole plan of this famous artist who left us his unique mark in the art of landscape painting.
Ilya Efimovich Repin (1844-1930) Paintings famous artist Ilya Repin are distinguished by their versatility. Repin wrote a number of monumental genre paintings that gained immense popularity among his contemporaries, which produced strong impression to the public. Traveling along the Volga, he painted many sketches, which he later used to paint his famous painting Barge haulers on the Volga, after this work, Repin gained stunning fame. Also not a small impression was made by the picture of the artist's wife, patron Tretyakov P.M. The picture, grandiose in scope and compositional design: The ceremonial meeting of the State Council, in the picture there is a huge number of political figures of that time present, and Nicholas II is also present in the picture. in this difficult work, Repin managed to psychologically plausibly describe the characteristics of each character. Ilya Repin left a significant mark on the history of Russian painting.
Vasily Ivanovich Surikov (1848-1916) Remarkable Russian artist, beautiful master colors and coloring of paints and pictorial techniques, who knew Russian life and customs of past eras very well. In many of his works, Surikov chose tragic fragments of Russian history. Against the background of Surikov's paintings, remarkable historical works stand out in which he reflected bright psychological characteristics: Boyarynya Morozova, Morning of the Streltsy Execution, Menshikov in Berezov and the painting Yermak's Conquest of Siberia. Surikov's paintings are unique to a large extent in their predominant, picturesque coloring.
Valentin Alexandrovich Serov (1865-1911) Very fashion artist of his time, mainly his portraits brought him fame, although he also painted landscapes and paintings on historical subjects, sometimes worked as a theater artist. Serov, like no one else, knew what a portrait was and how to draw a portrait, like no one else, Serov skillfully drew with a pencil from life, he was posed for a lot well-known patrons, artists and writers. Most of all, his portraits were noticeable: Girl with Peaches, the picture is fanned with a childish perception of spirituality and tenderness, which enchanted contemporaries with rose-gold tones and airiness. A girl illuminated by the sun, in the picture the morning sun illuminating the meadow plays, a young girl sitting in the shade radiating youth and beauty, a portrait of M. N. Akimova and many others.
The 9th century is the golden age of Russian fine arts, which gave rise to a large number of famous Russian artists who left their descendants a rich heritage, the value of which is simply immeasurable. Thanks to the Russian Wanderers, the most famous artists of that time, the pictures of Russian painting help all mankind to comprehend those ideas about the life of those years and the work of Russian artists, which with great difficulty achieved the creation of a partnership of traveling art exhibitions.