Pictures of petrov vodkin with titles. Petrov-Vodkin Kuzma Sergeevich. Russian and Soviet Symbolist painter. Acquaintance with Meltzer and care of the Kazarins

The paintings of Petrov-Vodkin, a unique artist who worked at the junction of two eras, are kept in best museums Russia and abroad.

Having received a magnificent art education, he studied icon painting, showed great interest in painting of the Renaissance. In 1910, after numerous travels, Kuzma Sergeevich became interested in impressionism.

Having synthesized different directions, he began to write in a special manner that makes it easy to recognize his work.

Much has changed since the Revolution, including the attitude towards it, and the works that Petrov-Vodkin created: paintings, still lifes - have become even more modern and significant. With the help of spherical perspective, he takes the viewer out of the plane into a dimension in which there is time and movement. You begin not only to see, but also to hear what happens when you look at the paintings of Petrov-Vodkin.

With great joy and enthusiasm, the artist received the news of the changes that had taken place, accepted Active participation in organizing art workshops and educational institutions throughout the USSR. After all, he himself came from a simple working-class family and was never ashamed of it.

Breakfast on the sunny veranda

Painting by Petrov-Vodkin “ Morning still life"Is kept in the Russian Museum in St. Petersburg. The painting depicts a joyful sunny morning at the dacha.

There is a faceted teapot on a wooden table, in which a cat is reflected, and a dog peeps out to the left, possibly looking at its owner. The invisible hero of the picture has just drank tea from a glass, put a spoon on a saucer, eggs are prepared for breakfast. There is a bouquet of fresh wildflowers in a small vase. The whole space is flooded with light. A scene from life is sketched here. The canvas is voluminous; it seems that you can enter it, pet the dog, drink amber tea.

Portrait of Anna Akhmatova

Kuzma Sergeevich Petrov-Vodkin late creativity often painted portraits of family members. But create an image famous poet is a great responsibility to future generations. except external similarity you need to convey spirituality creative personality, character, his artistic vision.

The portrait of Anna Akhmatova was painted in 1922. An insightful look exudes calmness and strength, pain and sadness about irreparable losses, courage to bear them with dignity.

Many artists captured the poetess, but the work of Petrov-Vodkin, which caused a lot of controversy and criticism of contemporaries, has stood the test of time.

When writing, the tricolor method was applied, with which the artist was enthusiastically experimenting at that time.

Petrograd Madonna

Also in young age met two icon painters and took up the brush himself Petrov-Vodkin. The paintings of that time have not survived.

Later, when he had already received his art education in Petrograd and Moscow, he painted icons in the modern style until 1917.

After the Revolution, many hidden meaning Petrov-Vodkin invested in his works, the description of the picture became impossible without the search for associations and the presence of certain knowledge.

The job immediately got popular name"Petrograd Madonna".

The woman depicted in the painting "Petrograd. 1918" squeezes the baby's hand, and her gaze is full of anxiety and sadness for his future destiny... In terms of iconography, the work is similar to the “Passionate” icon of the Mother of God, dedicated to the events of the Holy Week, the last one before the Resurrection. Baby Jesus took the Mother of God by the hands, seeing the angels carrying the instruments of torture for the Crucifixion.

The picture summarizes state of mind all women in this difficult and terrible time who, despite the war and hardships, continue to fulfill their sacred maternal duty, giving warmth and care to their children, trying not to be touched by the surrounding devastation and hunger.

Prophecies in the paintings of K.S. Petrov-Vodkin

Contemporaries called him an ancient Russian icon painter who, by chance, got into the future. Petrov-Vodkin's paintings not only reflected his perception of the present, but also prophesied. For example, Bathing a Red Horse.

Painted in 1912, the canvas made a splash in the world. The powerful energy of color was associated with impending inevitable events. The revolution was approaching; artists and poets, believing in ideals, dreaming of building communism, wholeheartedly responded to her call.

Petrov-Vodkin's paintings are original and beautiful, in his work he managed to reflect life ordinary people, their spirituality, the drama of the time.

Kuzma Sergeevich Petrov-Vodkin (October 24 (November 5) 1878, Khvalynsk, Saratov province, Russian Empire - February 15, 1939, Leningrad, USSR) - Russian and Soviet painter, graphic artist, art theorist, writer and teacher, honored art worker of the RSFSR (1930).

Kuzma Sergeevich Petrov-Vodkin was born on October 24 (November 5) 1878 in the city of Khvalynsk, Saratov province Russian Empire, in the family of a shoemaker.

As a student of a four-year city school, Kuzma met two local icon painters, from whom he could observe all stages of the creation of an icon. Impressed, he tries to paint icons and landscapes on his own. oil paints... In 1893 he graduated from college.

After working the summer in ship repair shops, in the fall Kuzma went to Samara to enroll in a railway school, but failed. As a result, he ended up in the painting and drawing classes of F.E.Burov. Here he received the basics of painting. However, in 1895 Burov died and his education remained unfinished. Later, Petrov-Vodkin recalled: “Until the end of our stay with Burov, we never tried to get close to nature, thanks to which we did not receive real value knowledge ".

Kuzma returned to his homeland, where he was helped by chance. The famous St. Petersburg architect R.F.Meltser came to Khvalynsk. He arrived on the Volga at the request of his old acquaintance, the landowner Yu. I. Kazaryina, who wanted to ask Melzer to build another mansion for her. Petrova-Vodkina's mother Anna Panteleevna worked as a maid for her sister Kazaryina and showed the architect her drawings talented son... Meltzer was impressed by his painting and took Kuzma Sergeevich to St. Petersburg, where he gave a good art education at the St. Petersburg Central Stieglitz School of Technical Drawing. Khvalynsk merchants, including Kazaryin, sent 25 rubles a month to help Kuzma, but he considered it "a handout, for which later it will be necessary to thank."

Petrov-Vodkin began his work as an artist by creating the image of the Mother of God with the Child on the wall of the church apse of the Orthopedic Institute of Doctor Vreden in Alexander Park on the Petrograd side. In order to translate the sketch of his icon into majolica, Kuzma Sergeevich went to London, where the picture was processed at the Dulton ceramic factory.

In 1897, Petrov-Vodkin moved to Moscow and entered the Moscow School of Painting, Sculpture and Architecture (MUZhVZ), where he studied with Valentin Aleksandrovich Serov. In 1900 he worked at a ceramic factory in the village of Vsekhsvyatskoye near Moscow. Graduated from the Moscow School of Painting, Sculpture and Architecture in 1905.

From 1905 to 1908 he also studied at the private academies in Paris. During this period he visited Italy (1905) and North Africa (1907).

In 1911, Petrov-Vodkin became a member of the World of Art association.

He was one of the founding members of the Free Philosophical Association (Wolfila, 1919-1924).

In 1924 he became a member of the Four Arts association.

In the Soviet Union, Petrov-Vodkin worked a lot as a schedule and theater artist... He began his activity in the theater in 1913 at the Nezlobin Theater. Designed the performances " Maiden of orleans"Schiller (1913)," Diary of Satan "after Andreev (1923, Leningrad Drama Theater named after Pushkin)," The Marriage of Figaro "by Beaumarchais (1935, Leningrad Drama Theater named after Pushkin). He also worked literary work writing stories, novellas, plays and essays. He wrote theoretical articles, was engaged in teaching.

Petrov-Vodkin was one of the reorganizers of the art education system in the country. From 1918 to 1933 he taught successively at the Petrograd State Free Art Training Workshops (PGSKhUM), VKHUTEMAS, VKHUTEIN, the Institute of Proletarian visual arts(INPII), IZHSA.

In August 1932, K. S. Petrov-Vodkin was elected the first chairman of the Leningrad branch of the Union Soviet artists(LOSS).

The artist died on February 15, 1939 in Leningrad. Buried at Literatorskie mostki Volkov cemetery.

In the initial period of creativity, Petrov-Vodkin was strongly influenced by foreign masters of symbolism and "modern". He is considered one of the spokesmen for the symbolistic tendencies in Russian painting during this period. Since the 1910s, he moved from allegorical to holistic monumental and decorative works. Petrov-Vodkin was interested in painting early Renaissance and Russian icon painting, which influenced his development of a spherical perspective. The artist also created thematic paintings, portraits, still lifes.

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Petrov-Vodkin Kuzma Sergeevich (1878-1939)

Creative destiny Petrova-Vodkinaevolved happily. The transformation of a shoemaker's son into a famous painter, rapid movementhisfrom the Volga backwater to the centers European culture(Petersburg, Moscow, Munich, Rome, Paris), its neighborhood with the largest artists in refined metropolitan circles - all this seems fantastic.

Petrov-Vodkin... Self-portrait .. 1926

In paintingKuzma Sergeevichthe paradoxical structure of his personality was displayed: a provincial-tenacious, proprietary-thrifty attitude to the material of spiritual activity, on the one hand, andwith another- the cosmic scope of hypotheses, projects, amazing freedom of thought, intellectual disinterestedness.

The first timid experiments led the fifteen-year-old boy to the Painting and Drawing Classes of Burov (Samara). In 1895, with the help of patrons of the arts, he went to St. Petersburg and entered the CUTR. But two years later, realizing his artistic vocation, Kuzma Sergeevich moved to the Moscow School of Painting, Sculpture and Architecture, where he was lucky enough to work in the workshop of V. A. Serov. In addition, in 1901 he visited Munich and attended art school Ashbe.

Years of stay at MUZHVZ(graduated in 1904)marked literary pursuits(prose and drama), sometimes so intense that the artist even hesitated in the choice between painting and literature. Travel to Italy, a long stay in France, study in Parisian studios, acquaintance with modern European art expanded the artistic horizon of Petrov-Vodkin, finally determining the choice of the path. A trip to North Africa served as the basis for the works shown at the Paris Salon (1908), and then at home.

Coast. 1908

In 1909, the editorial office of the Apollo magazine hosted the first personal exhibition of Petrov-Vodkin. The following year, the artist became a member of the World of Art association, with which he was associated until its dissolution (1924). Already in early period the work of Petrov-Vodkin is marked by a symbolist orientation (Elegy, 1906; The Shore, 1908; Dream, 1910); here, undoubtedly, the influence of older contemporaries - Vrubel, Borisov-Musatov, Puvis de Chavannes and in the field of literature - Maeterlinck.

The public resonance of the artist's first performances wore controversial character... The painting "Dream" caused a stormy controversy and brought wide popularity to the young painter, since the criticism camp was headed by Repin, and the defense - by Benoit. Some saw in Petrov-Vodkin "the latest decadent", while others associated "Apollonian" expectations with his work, the assertion of a neoclassical tendency. The artist himself could not judge himself so definitely: calling himself a "difficult artist", he was not cunning.

As a "hymn to Apollo", as a spell of "monstrous confusion" (Benois) of modern reality, the call and presentiment of the coming purification and renewal of the world was criticized by Petrov-Vodkin's painting "Bathing the Red Horse" that appeared in 1912 at the World of Art exhibition. Solemn, combining bright decorativeness and in-depth psychologism in interpretation " higher form on the ground" - human face, the style of Petrov-Vodkin's works, as it were, synthesizes in itself a variety of traditions that are spiritually and formally close to the artist. In his pictorial language, the influence of images is felt High Renaissance and oriental art, a successive connection with the art of Venetsianov and A. Ivanov, closeness to the quests of contemporary French masters, especially Matisse. But especially important for the artist was the discovery in those years of greatness ancient Russian art, to whom Petrov Vodkin, in his words, "stretched out his hand" for the embodiment on the canvases of the "holy" foundations of human existence.

Mother. 1915

Throughout the 1910s, the range of searches for Petrov-Vodkin remained very wide. Along with canvases of a monumental and decorative character, not devoid of stylization (Girls on the Volga, 1915), psychologized images appear in a "shell" of an almost naturalistic form (On the Line of Fire, 1916). The most organic are works related to the theme of motherhood, which runs through all the work of Petrov-Vodkin ("Mother", 1913; "Mother", 1915; "Morning. Bathers", 1917).

Girls on the Volga. 1915

At the same time, ideas are ripening that led Petrov-Vodkin to the creation of a one-of-a-kind art system... The problem of space is brought to the fore, which is resolved in "spherical perspective". Its fundamental difference from the "Italian" perspective is in the calculation of the dynamics of the viewer. At the same time, it is an organization of symbolic space, addressing the perception of any fragment of reality from a "planetary" point of view. The variety of spatial positions in the picture is associated with the law of gravitation: the inclined axes of the bodies form, as it were, a fan, opened from the inside of the picture. The features of such an organization are noted in many works: "Noon. Summer" (1917), "Sleeping Child" (1924), "First Steps" (1925), "The Death of the Commissar" (1928), "Spring" (1935).

Mother of God. Affection of evil hearts. 1914-1915

Understanding space as "one of the mainthe storytellers of the painting "together with a specific interpretation of the role of color (based on the primary triad: red, yellow, blue) determined the mature painting style of Petrov-Vodkin. Cosmological symbolism is also reflected in portraits (Self-portrait, 1918; Head of an Uzbek boy, 1921 ; "Portrait of Anna Akhmatova", 1922).

Petrograd Madonna. 1920

Kuzma Sergeevichconsidered painting a tool for improving naturehumanand sought to discover in him the manifestation of the eternal laws of structurethe world, to make each specific image the personification of the connection of cosmic forces. Perhaps this was what allowed him to read fate by faces. In the early post-revolutionary yearsNSartistespecially often he turned to still life, finding rich experimental possibilities in this genre (Morning Still Life, 1918; Still Life with a Mirror, 1919; Still Life with a Blue Ashtray, 1920). Still lifesPetrova-Vodkinawith eloquent accuracy convey the harsh spirit of the times ("Herring", "Violin", both 1918). Many works are built on the principle of double exposure (1918 in Petrograd, 1920; After the Battle, 1923; Death of the Commissar, 1928), which gives rise to associating his painting with the language of cinema.

At the turn of the 1920s and 1930s, Kuzma Sergeevich, forcedfor a whileleavepaintingbecause of illness, again turned to literary creation... He wrote the autobiographical novels "Khlynovsk" and "Euclid's Space", in which he widely developed views on the nature and possibilities of art. Last thing significant work Petrova-Vodkina - "1919. Anxiety" (1934). Although the title of the picture addresses specific historical events, it contains contrasting meanings and grows to the symbol of the era. Anxiety for the fatherland human destinies, the future of children in 1934 acquired a different meaning than in 1919.

Petrograd 1918. Anxiety. 1934

Targeting Eternal values, inherent in the work of Kuzma Sergeevich Petrov-Vodkin, could not be accepted by the ideology of Stalin's time. After his death, his name was half-forgotten. Only in the mid-1960sPetrova-Vodkinaopenedagain, understanding the scale of his talent and the value of his creative heritage.

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Bird cherry in a glass, 1932

Housewarming (Workers Petrograd). 1937

After all, for all characteristic features his talent, in terms of the scope of his compositions, in terms of the original peculiarity of his color, Petrov-Vodkin is the most typical artist for large spaces, an artist for fresco painting ... space, to the fresco, more and more in our artistic world... But they have nowhere to show their talent and they have to break themselves and, who knows, to a greater extent to lose themselves.

Bazhenov N.

Fantasy, 1925

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KUZMA Sergeevich Petrov-Vodkin was born into a poor family of a shoemaker in Khvalynsk on the Volga of Saratov province on November 5, 1878. Thanks to the support of local grain merchants, the boy, who was distinguished from his peers by a tenacious visual memory, received an art education, first in Samara art classes and the St. Petersburg school of Stieglitz, then at the Moscow School of Painting, Sculpture and Architecture.

Self-portrait. 1929 g.

The joy of first impressions of life - the beauty of the Trans-Volga distant and orchards, poetry and wisdom folk tales and songs, - very soon gave way to youthful universities: the cruelty and absurdity of the philistine life of provincial Russia. With bitterness, young Kuzma wrote to his mother from Samara: "There is such a mass of tears, grief, and impenetrable need in God's light that everything joyful is lost in the world, and you cannot catch happiness by the tail."

The artist continued his studies at private academies in Munich and Paris. This is probably why in the work of Petrov-Vodkin, French post-impressionism, the symbolism of European modernity and tradition were combined Old Russian icon painting and frescoes. Some critics even noted that the work of Petrov-Vodkin "can be likened to a mirror, looking into which the West recognizes the East in itself, and the East - the West."

"Cafe", 1907

Upon his return to Moscow, Petrov-Vodkin transferred from the general classes of the school to Serov's workshop. However, the need to think about his daily bread makes him in the summer of 1902, together with his schoolmates Kuznetsov and Utkin, go to Saratov, where they were asked to paint the church of the Kazan Mother of God... Young artists also stray far from the canon Orthodox Church, and from the traditional techniques of church painting of those years. The work was not yet completed when a campaign against them began in the Saratov newspapers, and then - by order of the church court and despite the defense famous artist Borisov-Musatov - the paintings were destroyed. As Borisov-Musatov wrote at the same time, these were works, "in comparison with which the painting of the entire Saratov church diocese, both old and new, is worth absolutely nothing ..."

Mother of God "Tenderness of Evil Hearts". 1914-1915

In 1904, Petrov-Vodkin finishes Moscow school and a year later he went to Italy. One of the purposes of the trip was ... Vesuvius. WITH early years the future artist had a special interest in various manifestations elemental forces of nature - earthquakes, sea tides, volcanic eruptions, although on my Volga I could only observe ice drifts, thunderstorms, starfalls, river storms, yes - once - solar eclipse... To see a real volcano was his old dream. And now this dream was fully realized: Vesuvius, when the artist climbed to its very mouth, shook from the explosions and showered the slopes with ash. According to Petrov-Vodkin, the sensations he experienced on Vesuvius shook his artistic consciousness and became the line that separated the period of his apprenticeship in art from the coming independent creative life.

Portrait of a Woman ("Portrait of an Unknown Woman"). 1908 g.

All his life Petrov-Vodkin was looking for a pictorial form of the "philosophical picture of the world." By 1910, he had found his own style of symbolic interpretation of the pictorial space, the interaction of three primary colors: red, blue and yellow - the so-called "tricolor" - and expression in figurative images philosophical categories of being. “Form and color that encompasses this form is painting” - this is how Petrov-Vodkin himself formulated his principle. These are the qualities that distinguish the painting "Bathing the Red Horse" - main masterpiece artist, painted by him in 1912. Throughout the canvas - a powerful figure of a horse. It obscures almost the entire area of ​​the canvas. Now the painting is in Tretyakov Gallery in Moscow, and until 1950 her fate remained unknown.

In 1914, the "Red Horse" went to international exhibition to Sweden. Soon the First began World War and the picture disappeared. And only thanks to the artist's widow, who by some miracle managed to find the painting, she was returned to her homeland. “For me, the Red Horse is a vivid example of Symbolist painting,” noted art critic Natalya Adaskina. - This is a very capacious image representing the era, speaking on its behalf. The main thing in the picture is a premonition: something has happened and something is expected. Something grandiose, radically changing destinies lies ahead. The numbness before the start of something new is so clearly expressed in the picture that it became a symbol of the era - the beginning of the twentieth century. " And indeed it is. Petrov-Vodkin's contemporaries perceived the "Red Horse" as a spell of modern reality, as a call and a premonition of the coming purification and renewal of the world. And the artist himself, after the outbreak of World War II, exclaimed: “So that's what Bathing the Red Horse was about! After the events of 1917, he did the same.

Bad dream without awakening.

"1918 in Petrograd". 1920 g.

Petrov-Vodkin invariably preferred to remain outside the castes, beseeching those close to him not to get involved in politics, in which "the devil himself would break his leg." However, he accepts the October coup with enthusiasm. “In the chaos of construction, everyone not absorbed in personal accounts, ... looking beyond the bounds of temporary confusion, one string sounds like hope: there will be wonderful Life! .. The guarantee of hope is that "people" felt themselves to be humanity, and since this feeling appeared ... it will not disappear. ... The appearance of a brother-man was clearly outlined among the trash of tangled ... vicissitudes of life, "he wrote in 1917. He embodied his understanding of the revolution as a world-historical phenomenon that opens the way to perfection for mankind in the Soviet art paintings "1918 in Petrograd" (1920) and "The death of the commissar" (1928).

"Death of the Commissioner". 1928 g.

The artist sincerely believes that after October “the Russian people, in spite of all the torment, will arrange freedom, honest life... And this life will be open to everyone ”. At the same time, he understands that "destiny can only be created by peace, and not by violence, not bayonets, not prisons, and not by talking, but by deed." He also sees that food shortages are beginning in Petrograd. “It has come to light here that there is no salt! You have to look for any food with grief. " And in 1917, a real famine reigns. Crackers sent by mother from Khvalynsk - a feast! “Where does it come from,” the artist exclaimed, “God gives us strength to the hungry here ?!” And he concluded: "Like a bad dream without awakening, this life ..."

"Anxiety." 1926 g.

Honored Art Worker of the RSFSR K.S.Petrov-Vodkin was not an artist who would be quite happy with Soviet power... Symbolist with a Parisian school, an icon painter in the past, who has his own interest in the icon and religious art did not hide in the era of militant materialism, did not fit the format of the Soviet calendar in any way. And, perhaps, Kuzma Sergeevich would have shared the fate of many talented people rotted in the GULAG, do not die on the night of February 14-15, 1939 ...

"Violin." 1921 g.

"Pink still life." 1918 g.

"Mother." 1915

"Portrait of a daughter." 1935

"Grape." 1938 g.

Kuzma Petrov-Vodkin, great artist, who was called a modern icon painter, left a unique artistic heritage, figurative and spiritualized, but at the same time symbolic and modernist.

The history of the surname and childhood of the future artist

Lost for others! Eternal memory to you! (the inscription on the painting is dedicated to the drowned man who saved the artist)

Kuzma Ivanovich was born in the city of Khvalynsk, in the north of the Saratov province in the late 70s of the XIX century. Simple family shoemaker became famous for her violent ancestor and double surname... The ancestor of Kuzma Ivanovich, a certain Peter, was very fond of drinking vodka. Being drunk. he stabbed his wife and then died himself. After this incident, his descendants were called Petrovs and Vodkins, and then even Petrov-Vodkins.

The artist got the shameful surname from his parents and served as a reminder of his relatives.

Creativity

Interest in artistic creation appeared at the boy very early. As a student of the school, the boy met icon painters and long time watched their work. Subsequently, he tried to repeat the technique and painted the image of the Virgin. Unfortunately, the priest did not like him - the holy face resembled an ordinary country woman, overcome by violent emotions.

Acquaintance with Meltzer and care of the Kazarins

Mom played a decisive role in her son's career. Working on the estate of the Kazarin merchants, the woman brought her son's works to show them to the owners and architect Robert-Friedrich Meltser. He was surprised and amazed at the boy's talent. Young talent it was decided to send him to St. Petersburg, where the architect helped with exams at the art school. The Kazarina merchants sponsored Kuzma Ivanovich and helped him in every possible way with housing and money.

Creative way and worldwide fame

Until the end of our stay with Burov, we never once tried to approach nature, thanks to which we did not receive the real value of knowledge.

Petrov-Vodkin Kuzma Sergeevich

While studying in the capital, Kuzma Ivanovich improved his technique, investing in it the experience of an icon painter. The artist created a sketch of the Virgin and Child for medical institute... The artist planned to translate the sketch into ceramics and specifically for this went to England to one of the porcelain manufactories. The panel has survived to this day.

At the age of 19, the artist moved to Moscow and became a student at an art school under the supervision of the famous artist Valentin Serov.