Musical criticism. V. Stasov and his significance as an art critic Stasov paintings

Activity V. V. Stasova as an art critic was inextricably linked with the development of Russian realistic art and music in the second half of the 19th century. He was their passionate advocate and advocate. He was an outstanding representative of Russian democratic realistic art criticism. Stasov, in his criticism of works of art, assessed them from the point of view of the fidelity of artistic reproduction and interpretation of reality. He tried to compare the images of art with the life that gave birth to them. Therefore, his criticism of works of art often expanded to criticism of the very phenomena of life. Criticism became an assertion of the progressive and a struggle against the reactionary, anti-popular, backward and bad in public life. Art criticism was at the same time journalism. Unlike the previous art criticism - highly specialized or designed only for specialist artists and connoisseurs, art connoisseurs - the new, democratic criticism addressed a wide range of spectators. Stasov believed that the critic is the interpreter of public opinion; it must express the tastes and needs of the public. Stasov's many years of critical activity, imbued with deep conviction, principled and passionate, really received public recognition. Stasov not only promoted the realistic art of the Itinerants, but also new, democratic, progressive criticism itself. He created her authority, social significance.Stasov was an extremely versatile and deeply educated person. He was interested not only in fine arts and music, but also in literature. He wrote studies, critical articles and reviews on archeology and art history, architecture and music, folk decorative arts, read a lot, spoke most European languages, as well as classical Greek and Latin. He owed his enormous erudition to continuous work and his inexhaustible curiosity. These qualities of his - versatility of interests, erudition, high education, habit of constant, systematic mental work, like love to write - were developed in him by his upbringing and life environment.

Vladimir Vasilievich Stasov was born in 1824. He was the last, fifth child in a large family of the outstanding architect V.P. Stasov. From childhood, his father instilled in him an interest in art and hard work. He taught the boy to read systematically, to the habit of expressing his thoughts and impressions in literary form. So from his youth, the foundations were laid for that love of literary work, that desire and ease with which Stasov wrote. He left behind a huge literary legacy.

After graduating from the School of Law in 1843, young Stasov serves in the Senate and at the same time independently studies music and the visual arts, which attracted him especially. In 1847 his first article appeared - "Living Pictures and Other Artistic Objects of St. Petersburg". She reveals Stasov's critical activities.Stasov benefited greatly from his work as a secretary for the Russian rich man A.N. Demidov in Italy, in his possession of San Donato, near Florence. Living there in 1851 - 1854, Stasov worked diligently on his artistic education.

Karl Bryullov Portrait of A.N. Demidov 1831. Anatoly Nikolaevich Demidov (1812, Florence, Italy - 1870, Paris, France) - Russian and French philanthropist, actual state councilor, Prince of San Donato. Representative of the Demidov family, the youngest son of Nikolai Nikitich Demidov from his marriage to Elizaveta Aleksandrovna Stroganova. Most of his life he lived in Europe, only occasionally arriving in Russia.

Soon after returning home to St. Petersburg, Stasov began working at the Public Library. He has worked here all his life, heading the Art Department. The collection and study of books, manuscripts, prints, etc. further develops Stasov's knowledge, becomes the source of his enormous erudition. He gives advice and advice to artists, musicians, directors, getting them the information they need, looking for historical sources for their work on paintings, sculptures, theatrical performances. Stasov moves in a wide circle of outstanding cultural figures, writers, painters, composers, actors, public figures. He developed especially close ties with young artists and realist musicians who were looking for new paths in art. He is keenly interested in the affairs of the Itinerants and musicians from the "Mighty Handful" group (by the way, the very name belongs to Stasov), helps them in organizational and ideological issues.

The breadth of Stasov's interests was reflected in the fact that he organically combined the work of an art historian with the activities of an art critic. A lively, active participation in modern artistic life, in the struggle of democratic, progressive art with the old, backward and reactionary helped Stasov in his work on the study of the past. The best, most faithful aspects of his historical and archaeological research, judgments about folk art, Stasov owed to his critical activities. The struggle for realism and nationality in contemporary art helped him to better understand the history of art.

Tolstye L.N., S.A., Alexandra Lvovna, V.V. Stasov, Ginsburg, M.A. Maklakov. From the life of L.N. Tolstoy. Pictures of work exclusively gr. S.A. Tolstoy.

Stasov's view of art and artistic convictions developed in an atmosphere of high democratic upsurge in the late 1850s - early 1860s. The struggle of the revolutionary democrats against serfdom, against the feudal estate system, against the autocratic-police regime for a new Russia extended to the field of literature and art. It was a struggle against the backward views on art that reigned in the ruling class and had official recognition. The degenerating noble aesthetics proclaimed "pure art", "art for art." The sublime, cold and abstract beauty or the luscious conditional external beauty of such art was contrasted with the real surrounding reality. To these reactionary and deadly views of art, democrats oppose life-related, nourishing. it is about realistic art and literature. N. Chernyshevsky in his famous dissertation "Aesthetic relations of art to reality" proclaims that "beauty is life", that the field of art is "everything that is interesting for a person in life." Art should cognize the world and be a “textbook of life”. In addition, it must make its own judgments about life, have "the meaning of a judgment about the phenomena of life."

These views of the revolutionary democrats formed the basis of Stasov's aesthetics. He strove to proceed from them in his critical activity, although he himself did not rise to the level of revolutionism. He considered Chernyshevsky, Dobrolyubov, Pisarev to be “the column leaders of the new art” (“25 years of Russian art”). He was a democrat and deeply progressive person who defended the ideas of freedom, progress, art associated with life and propagandizing advanced ideas.

In the name of such art, he begins his struggle with the Academy of Arts, with its educational system and with its art. The Academy was hostile to him both as a reactionary government institution, and obsolescence, isolation from life, pedantry of its artistic positions. In 1861, Stasov published an article "Concerning the Exhibition at the Academy of Arts." With it, he begins his struggle with outdated academic art, in which mythological and religious subjects far from life prevailed, for a new, realistic art. This was the beginning of a long and passionate critical struggle. In the same year, his great work "On the Significance of Bryullov and Ivanov in Russian Art" was written. Stasov considers the contradictions in the work of these famous artists as a reflection of the transition period. He reveals in their works the struggle of the new, realistic beginning with the old, traditional and seeks to prove that it was precisely these new, realistic features and tendencies in their work that ensured their role in the development of Russian art."What a strong and new movement was conceived by all this art! How all views and aspirations were turned over! How everything has changed against the former! The new art also received a new physiognomy. Approaching his works - whatever the degree of their dignity - you feel that here it is not at all about what was going on in the course of the last period of art that preceded our time. It is no longer about virtuosity, not about the skill of execution, not about panache, skill and brilliance, but about the very content of the paintings ..."

Karl Bryullov (1799-1852) Portrait of Princess E.P. Saltykova. 1833-1835

In 1863, 14 artists abandoned their graduation theme, the so-called "program", defending freedom of creativity and a realistic display of modernity. This "rebellion" of the academy students was a reflection of the revolutionary upsurge and awakening of the public in the field of art. These "Protestants", as they were called, founded the "Artists' Artel". It then grew into a powerful movement called the Association of Traveling Art Exhibitions. These were the first not governmental and not noble, but democratic public organizations of artists, in which they were their own masters. Stasov warmly welcomed the creation of the first "Artel", and then the Association of Itinerants. "

If the Artel was the first attempt in Russian art to create an artistic association independent of official tutelage, then the Association implemented this idea.

He rightly saw in them the beginning of a new art and then in every possible way promoted and defended the Itinerants and their art. Our collection contains some of the most interesting of Stasov's articles devoted to the analysis of traveling exhibitions. The article "Kramskoy and Russian Artists" is indicative of its defense of the positions of advanced, realistic art and its outstanding figures. In it, Stasov ardently and justly rebelled against the belittling of the significance of the remarkable artist, leader and ideologist of itinerant movement - IN Kramskoy.

The authorship of this painting has not yet been identified, it is known that it was sold at an auction in Israel. The painting depicts Repin, Stasov, Levitan, Surikov, Kuindzhi, Vasnetsov and other artists. On the easel (stretcher) facing us with its back side, there is a painting by I. Repin (1844-1930) "They Did Not Expect". This painting has a double in its plot: the artist Yu.P. Tsyganov (1923-1994), he painted this picture while still a student - "V.V. Stasov among Russian artists":

An interesting example of the defense of works of realistic art from reactionary and liberal criticism is Stasov's analysis of the famous painting by I. Repin "They Did Not Expect". In it, Stasov refutes the distortion of its social meaning.

Stasov always looked for deep ideological content and life truth in art, and from this point of view, he first of all evaluated works. He stated: “Only that is art, great, necessary and sacred, which does not lie and does not fantasize, which does not amuse itself with old toys, but looks with all eyes at what is happening everywhere around us, and, having forgotten the former lordly division of plots into high and low, with a burning chest presses against everything where there is poetry, thought and life "(" Our Artistic Deeds "). He was even inclined at times to regard the urge to express great ideas that excite society as one of the characteristic national features of Russian art. In his article “25 Years of Russian Art,” Stasov, following Chernyshevsky, demands that art be a critic of social phenomena. He defends the tendentiousness of art, considering it as an open expression by the artist of his aesthetic and social views and ideals, as an active participation of art in public life, in educating people, in the struggle for progressive ideals.

Stasov asserted: "Art that does not come from the roots of people's life, if not always useless and insignificant, then at least it is always powerless." Stasov's great merit is that he welcomed the reflection of folk life in the paintings of the Itinerants. He encouraged this in every possible way in their work. He gave a careful analysis and high appraisal of the display of images of the people and folk life in Repin's paintings "Barge Haulers on the Volga" and especially "Religious Procession in Kursk Province".

I. Repin Barge Haulers on the Volga

He especially put forward such pictures in which the protagonist is the masses, the people. He called them "choral". For showing the people in the war, he praises Vereshchagin, in his appeal to the nationality of art he sees similarities in the works of Repin and Mussorgsky.

I. Repin Religious procession in Kursk province 1880—1883

Here Stasov really grasped the most important and significant in the work of the Itinerants: the features of their nationality. Showing the people not only in their oppression and suffering, but also in their strength and greatness, in the beauty and richness of types and characters; defending the interests of the people was the most important merit and life feat of the Itinerant artists. It was real patriotism and the Itinerants and their herald - the criticism of Stasov.With all the passion of his nature, with all the journalistic fervor and talent, Stasov throughout his life defended the idea of ​​the independence and originality of the development of Russian art. At the same time, the false idea of ​​the alleged isolation, or exclusiveness, of the development of Russian art was alien to him. Defending its originality and originality, Stasov understood that, on the whole, it obeys the general laws of the development of new European art. Thus, in the article “25 Years of Russian Art,” speaking about the birth of Russian realistic art in the work of P.A. Fedotov (1815-1852), he compares it with similar phenomena in Western European art, establishing both the commonality of development and its national originality. Ideology, realism and nationality - these are the main features of Stasov defended and promoted in contemporary art.

Pavel Fedotov Major's matchmaking.

The breadth of interests and great versatile education of Stasov allowed him to consider painting not in isolation, but in connection with literature and music. Comparison of painting with music is especially interesting. It is characteristically expressed in the article "Perov and Mussorgsky".Stasov fought against the theories of "pure art", "art for art" in all their manifestations, whether it be a topic far from life, whether it be the "protection" of art from "rough everyday life", whether it be the desire to "free" painting from literature, be it and finally, the opposition of the artistry of works to their practical usefulness, utilitarianism. In this respect, the letter "Introductory Lecture of Mr. Prakhov at the University" is interesting.

I. Repin V. V. Stasov at the dacha in the village of Starozhilovka near Pargolov. 1889

The heyday of Stasov's critical activity dates back to 1870-1880. At this time, his best works were written, and at this time he enjoyed the greatest public recognition and influence ... Stasov further, until the end of his life, defended the public service of art, argued that it should serve social progress. All his life Stasov fought against opponents of realism at different stages of the development of Russian art. But Stasov, who was closely associated with the perennial movement of 1870-1880 as a critic who formed on the basis of this art and its principles, could not go further later. He could not truly perceive and understand new artistic phenomena in Russian art of the late 19th - early 20th centuries. Being fundamentally right in the fight against decadent, decadent phenomena, he often unfairly ranked among them the works of artists who were not decadent. The old critic in the heat of polemics sometimes did not understand the complexity and inconsistency of new phenomena, did not see their positive aspects, reducing everything only to erroneousness or limitations.

But, of course, even in the best works of criticism, not everything is true and acceptable to us. Stasov was the son of his time, and in his views and concepts were, along with very valuable, both weak and limited sides. They were especially significant in his scientific historical research, where he sometimes deviated from his own positions of the independence of the development of the art of the people, equated the concepts of nationality and nationality, etc. And his critical articles are not free from mistakes and one-sidedness. So, for example, in the heat of the struggle against obsolete old art, Stasov came to reject the achievements and value of Russian art of the 18th - early 19th centuries as allegedly dependent and non-national. To a certain extent, he shared here the delusions of those contemporary historians who believed that the reforms of Peter I cut short the allegedly national tradition of the development of Russian culture. In the same way, in the fight against the reactionary positions of the Academy of Arts of his day, Stasov reached the point of complete and absolute denial of it. In both cases, we see how an outstanding critic sometimes lost his historical approach to the phenomena of art in the heat of passionate polemics. In his closest and contemporary art, he sometimes underestimated individual artists, such as Surikov or Levitan. Along with a deep and correct analysis of some of Repin's paintings, he misunderstood others. The correct and deep understanding of nationality in painting is opposed by Stasov's external understanding of it in contemporary architecture. This was due to the weak development of the architecture of his time, its small artistry.

V.V. Stasov (in the circle of artists)

One could also point to other erroneous or extreme judgments caused by polemical fervor and the circumstances of the struggle, Stasov's judgments. But it is not these mistakes or delusions of the remarkable critic, but his strengths, the correctness of his main theses that are important and valuable to us. He was strong and truly great as a critic-democrat, who gave artistic criticism great social significance and weight. He was right in the main, the main and decisive one: in the public understanding of art, in upholding realism, in the assertion that it is the realistic method, the connection between art and life, the service of this life that ensure the flourishing, height and beauty of art. This assertion of realism in art constitutes the historical significance, strength and dignity of Stasov. This is the enduring significance of his critical works, their value and instructiveness for us today. Stasov's works are also important for acquaintance with the historical development and achievements of Russian realistic art.

A.M. Gorky, V.V. Stasov, I.E. Repin on "Pushkin Alley" in "Penaty"

Not only his great adherence to principles, clarity and firmness of his aesthetic positions, but also his passion, temperament, with which he defends his convictions, are instructive and valuable for us in Stasov-criticism. Until the end of his days (Stasov died in 1906), he remained a fighter critic. Remarkable is his love for art and dedication to what he considered authentic and beautiful in it. This vivid connection with art, his feeling as his own business, practical and necessary, was correctly described by M. Gorky in his memoirs about Stasov. Love for art is dictated by both its affirmations and its denials; the flame of great love for beauty always burned in him.

I. Repin Portrait of Vladimir Vasilievich Stasov. 1900

In this direct experience of art, in the passionate defense of its vital significance and importance, in the assertion of the realistic, necessary for the people, serving them and drawing their strength and inspiration from art, lies the most important and instructive, highly valued and respected by us in the works of Stasov ...

Russian bibliographer, art historian, music and art critic, archaeologist.

He served in the Senate, in the Ministry of Justice. In 1851 he retired from public service.

Since 1856 V.V. Stasov worked in the public library in St. Petersburg (now the Russian National Library named after M.E.Saltykov-Shchedrin), where from 1872 until the end of his life he headed its art department.

« Vladimir Vasilievich Stasov rendered great services to Russian art in all its areas, especially the area of ​​music. The rule of his life was "to be useful to others, if he himself was not born a creator."
And in fact, possessing great knowledge and serving in the Public Library, he rendered invaluable services to many artists and the entire Russian culture.
Considering Glinka genius, he wrote about him 48 articles, explaining the greatness of his work. Carried away by the Russian national style of music, he called "Mighty bunch" a group of composers - Balakireva, Mussorgsky, Cui, Rimsky-Korsakov, Borodin- and did them great services. He gave Mussorgsky the plots of "Khovanshchina" and "Boris Godunov", Borodin- the plot of "Prince Igor".
At the same time, he indicated to the composer the historical sources necessary for acquaintance with the corresponding era. Thus, he also participated in the work Rimsky-Korsakov over "Sadko" and "Pskovityanka". His capacity for work and love for work were extraordinary.
Even on Sundays, he came to the Public Library in his office and worked there. He refused orders and titles. When Minister Bogolepov offered him the post of Director of the Public Library, he not accepted this position for the sake of preserving freedom.
He valued freedom as a principle , and therefore defended Poles and Jews, appreciating the national identity of each people. Lev Tolstoy he called Leo the Great and wrote these words only in big letters, but he appreciated only the artist in him and reproached Tolstoy for not overcoming two barriers - "deity" and "Christianity." He was outraged by the order of the world and "blasphemously cursed the world order", finding death everywhere. For forty years he had been preparing a work, which he wanted to give the title "Defeat" or "Carnage generab" or "Massacre generab". In it, he was going to prove himself an anarchist and a pessimist "in this respect, in all parts, and not just political." In all of humanity, he thought, there are only a few dozen or hundreds of worthy people, and the rest deserve a cesspool.
He resented that liberal editors of magazines and newspapers behave in the same way as government censors. In his book, he also intended to destroy many recognized geniuses: Raphael he did not consider a great artist, he spoke of false greatness Michelangelo.
In his relations with people, in defending his opinions, Stasov showed extraordinary passion.
He loved the argument - furious, but always carried away by the essence of the matter, he forgot his personal grievances. Nicknames given to him express his passionate nature.
They called him: "Furious Stasov", "Trumpet of Jericho", "Critic of Thunders" ".

Lossky N.O., The search for absolute goodness, inherent in the Russian people, leads to the recognition of the high value of every personality (Excerpts from the book "The Character of the Russian People"), in Collection: Russian individualism. Collection of works of Russian philosophers of the XIX-XX centuries, M., "Algorithm", 2007, p. 44-46.

“A wonderful person was Vladimir Vasilievich Stasov... He knew how to accurately determine the most characteristic of the talent of all his many friends - composers and artists.
Possessing vast knowledge in the field of literature, art, history, heading for several decades the manuscript department of the St. Petersburg Public Library (now the State Public Library named after M.E.Saltykov-Shchedrin), he not only suggested interesting topics and plots of new works to his friends, but helped with apt instructions, advice, selection of documentary material, etc.
He lived by the needs and interests of his talented friends, widely propagandized in his critical articles all their bold undertakings. Brought up in the spirit of the ideas of the great Russian revolutionary democrats, Stasov did not recognize art divorced from life. "For me, reality in art is everything," he said. "

Ratskaya Ts.S., N.A. Rimsky-Korsakov, M., "Music", 1977, p. 82-83.

On January 14, 1824, Vladimir Stasov was born, art and music critic, art historian and one of the organizers of the Association of the Itinerants (died 1906)

The history of Russian music and painting of the 19th century in the highest manifestations of its genius cannot be imagined without this man. He himself did not paint pictures and did not pore over scores, and nevertheless painters and composers bowed to him. Vladimir Stasov identified the prospects for the development of national art for a century to come.

As a child, Stasov dreamed of graduating from the Academy of Arts and in some way repeating the path of his father - the architect Vasily Petrovich Stasov. Instead, he went to the School of Jurisprudence. The path of the attorney at law did not attract him: “I firmly intended to say everything that had long been in me ...

When I began to disassemble all existing works of art and together began to consider everything written about them ... then I did not find art criticism in the sense that it should be. "

The goal was determined, but the strict papa was zealous in his perseverance: art, even if it is criticism, requires talent, and perseverance alone is enough for a titular adviser. The service record was adorned with the first entry - "Land survey department of the ruling senate." Serving then in the Ministry of Justice, Stasov nevertheless considered the study of art to be his main business. To a large extent, he was helped by his acquaintance with Anatoly Demidov, with whom he served as secretary in Italy for three years. Demidov's father Nikolai Nikitich at one time was appointed an envoy to Florence and substantially enlarged the family collection of paintings, books, icons there. And Stasov, accompanied by Anatoly Demidov, who bought himself the title of the Italian prince of San Donato, participated in the study of this original collection and its transportation from Florence to Russia - on two ships! Stasov seriously studied the history and theory of art. And so in the journals Otechestvennye zapiski, Sovremennik, Vestnik Evropy and Library for Reading began to appear his musical and artistic articles, reviews of French, German and English literature (he knew six languages).

Stasov became the first indisputable authority in Russia in the field of professional art criticism and the scientific history of visual arts. Moreover. At a time when the rulers of thoughts were nihilist-minded critics-overthrowers, Stasov found himself dependent only on common sense and his own, even if at times, subjective preferences. He was never possessed by tendentious ideas.

He served in the Public Library for half a century. At first, without any salary at all, then he became an assistant to the director, and even later - the head of the manuscript and art departments and, according to his ranks, was promoted to a state general - a privy councilor. He compiled a catalog of publications relating to Russia - "Rossika", wrote a number of historical works for reading Alexander II. “Stasov,” Marshak recalled, “did not have his own separate office. In front of a large window overlooking the street stood his ponderous desk, fenced with shields. These were stands with portraits of Peter the Great engraved at different times ... However, the Stasov corner of the library could not be called "peaceful". Disputes were always in full swing here, the soul of which was this tall, broad-shouldered, long-bearded old man with a large, aquiline nose and heavy eyelids. He never stooped and until his very last days carried his unyielding gray head high. He spoke loudly and, even if he wanted to say something in secret, he almost did not lower his voice, but only symbolically covered his mouth with the edge of his palm, as did ancient actors, saying the words "to the side."

Natalia Nordman, Stasov, Repin and Gorky. Penates. Photo by K. Bulla.

And on Seventh Rozhdestvenskaya, his home study - a narrow room, austere old furniture and portraits, among which two Repin's masterpieces stand out - on one by Leo Tolstoy, on the other - Stasova's sister Nadezhda Vasilievna, one of the founders of the Bestuzhev women's courses. Mussorgsky, Borodin, Roman (as Stasov called Rimsky-Korsakov), Repin, Chaliapin have visited this place more than once ... Whom he did not know in his lifetime! His huge hand once shook the hand of Krylov, the hand of Herzen. Fate endowed him with friendship with Leo the Great - as he invariably called Tolstoy. He knew Goncharov and Turgenev ... Contemporaries recalled how once Stasov and Turgenev had breakfast in a tavern. And suddenly - lo and behold! - their opinions coincided. Turgenev was so amazed that he ran to the window and shouted:
- Knit me, Orthodox!

In fact, it was a man-era. Born in the year of Byron's death. In his childhood, everyone around was still talking about the Patriotic War as an event they personally experienced. The memory of the Decembrist uprising was fresh. When Pushkin died, Stasov was thirteen years old. As a youth, he read the first published Gogol. He was the only one who accompanied Glinka, who was leaving forever abroad.

There is a phenomenal fact in the history of Russian culture - a community of music enthusiasts, in essence, amateurs, who made a kind of revolution in composing. They created a new Russian music school. Self-taught Balakirev, officers Borodin and Mussorgsky, fortification specialist Caesar Cui ... Naval sailor Rimsky-Korsakov was the only one who professionally mastered all the intricacies of the art of composition. Stasov, with his all-round knowledge, became the spiritual leader of the circle. He was inspired by the idea of ​​making Russian national music the leading one in the ensemble of European musical arts. This goal became the alpha and omega of the Balakirev circle.

The entire Stasov family was noted for their talents and gifts. Brother Dmitry was known as a lawyer involved in many high-profile political trials, for example, in the case of the attempted murder of Tsar Karakozov. By the way, his daughter Elena generally became a professional revolutionary, became Lenin's companion. At the same time, Dmitry Stasov was one of the organizers of the Russian Musical Society and the founders of the St. Petersburg Conservatory, against which his brother Vladimir fiercely fought. After all, when Rubinstein, with the support of the imperial government, opened a conservatory and invited foreign teachers, Vladimir Stasov and his comrades subjected him to hard-hitting criticism. Behind this confrontation were tensions between the Slavophiles and the Westernizers. According to Stasov, the creation of the conservatory was a barrier to the formation of a national culture. Balakirev generally believed that a systematic "school" education, the study of the prevailing rules, norms and laws can only harm the original talents of his wards. He recognized only such a teaching method, which consisted of playing, listening and jointly discussing musical works by recognized masters of the past and present. But this path was only suitable for exceptional personalities and special circumstances. In other cases, it only engendered amateurism. The conflict was settled in 1872, when Rimsky-Korsakov agreed to become a professor at the conservatory.

In 1883, Stasov wrote a programmatic article "Our Music in the Last 25 Years", where he emphasized that when Glinka thought that he was creating only Russian opera, he was wrong: he was creating an entire Russian music school, a new system. (By the way, Stasov devoted over thirty works to the analysis of Glinka's work.) Since Glinka's time, the Russian school has existed with such peculiar features of physiognomy that distinguish it from other European schools.

Stasov with Marshak and the future sculptor Hertsel Hertsovsky, 1904.

Stasov singled out the characteristic features of Russian music: an appeal to folklore in the broadest sense, mostly associated with large choral parts and "exoticism" inspired by the music of the Caucasian peoples.

Stasov was a sparkling polemicist. If somewhere in society he saw someone as an enemy of his ideas, then he immediately began to smash the suspected enemy. And it was possible to disagree with him, but it was impossible not to reckon with his opinion. For example, when the Rumyantsev Museum was transferred from St. Petersburg to Moscow, Stasov's indignation knew no bounds: “The Rumyantsev Museum is known throughout Europe! And suddenly he wiped it out like an elastic band. What an example and science for future patriots when they know that we have nothing solid, nothing durable, that we have anything you want, you can move, take away, sell! "

Stasov did a lot, but did not manage to complete his main work - on the ways of the development of world art, and after all he had been preparing to write this book all his life.

Giving advice doesn't have a headache. There is something paradoxical, destructive in the fact that some are trying to create something, while others are instructing them. But there is criticism, not just healing the souls of creators, not just directing the path of their thought, not only eliminating problems, but also striving to draw a perspective. Is it possible? It is certainly possible if the critic himself is a creative and purposeful nature; Vladimir Vasilyevich Stasov was precisely such a creator.
Bruno westev

Stasov considered art and music criticism the main business of his life. From 1847 he regularly appeared in print with articles on literature, art, and music. An encyclopedic-type figure, Stasov impressed with his versatility of interests (articles on Russian and foreign music, painting, sculpture, architecture, research and collecting work in the field of archeology, history, philology, folklore, etc.). Adhering to advanced democratic views, Stasov in his critical activities relied on the principles of the aesthetics of the Russian revolutionary democrats - V.G. Belinsky, A.I. Herzen, H.G. Chernyshevsky. He considered the foundations of advanced contemporary art to be realism and nationality. Stasov fought against academic art far from life, the official center of which in Russia was the St. Petersburg Empire Academy of Arts, for realistic art, for the democratization of arts and life. A man of immense erudition, having friendly relations with many leading artists, musicians, and writers, Stasov was for a number of them a mentor and advisor, a defender against the attacks of reactionary official criticism.

Stasov's musical-critical activity, which began in 1847 (with the Musical Review in Otechestvennye Zapiski), embraces more than half a century and is a vivid and vivid reflection of the history of our music over this period of time.

Beginning in the dark and sad period of Russian life in general and Russian art in particular, it continued in the era of awakening and a remarkable rise in artistic creativity, the formation of a young Russian music school, its struggle with routine and its gradual recognition not only in Russia, but also in West.

In countless magazine and newspaper articles, Stasov responded to every somehow remarkable event in the life of our new music school, ardently and convincingly interpreting the meaning of new works, fiercely repelling the attacks of opponents of the new direction.

Not being a real musician-specialist (composer or theorist), but having received a general musical education, which he expanded and deepened by independent studies and acquaintance with outstanding works of Western art (not only new, but also old - old Italians, Bach, etc.) .), Stasov did little to delve into a specially technical analysis of the formal aspect of the analyzed musical works, but with all the more fervor he defended their aesthetic and historical significance.

Guided by an ardent love for his native art and its best figures, a natural critical instinct, a clear awareness of the historical necessity of the national direction of art and an unshakable faith in its ultimate triumph, Stasov could sometimes go too far in expressing his enthusiastic enthusiasm, but comparatively rarely was mistaken in the general assessment of all that is significant, talented and original.

This is how he connected his name with the history of our national music in the second half of the 19th century.

In terms of sincerity of conviction, disinterested enthusiasm, ardor of presentation and feverish energy, Stasov stands completely apart not only among our music critics, but also among Europeans.

In this respect, he partly resembles Belinsky, leaving, of course, aside any comparison of their literary talents and significance.

Stasov's great credit to Russian art should be given to his inconspicuous work as a friend and adviser to our composers (starting with Serov, whose friend Stasov was for a long series of years, and ending with representatives of the young Russian school - Mussorgsky, Rimsky-Korsakov, Cui, Glazunov, etc.), who discussed with them their artistic intentions, the details of the script and the libretto, who was busy with their personal affairs and contributed to the perpetuation of their memory after their death (the biography of Glinka, for a long time the only one in our country, the biographies of Mussorgsky and our other composers, the publication of their letters, various memoirs and biographical materials, etc.). Stasov did a lot as a music historian (Russian and European).

His articles and brochures are devoted to European art: "L" "abbe Santini et sa collection musicale a Rome" (Florence, 1854; Russian translation in the "Library for Reading", for 1852), a lengthy description of the autographs of foreign musicians belonging to the Imperial Public Library ("Notes of the Fatherland", 1856), "Liszt, Schumann and Berlioz in Russia" ("Northern Herald", 1889, Nos. 7 and 8; an extract from here "List in Russia" was printed with some additions to " Russian Musical Newspaper "1896, №№ 8-9)," Letters from a great man "(Fr. Liszt," Northern Herald ", 1893)," New Biography of Liszt "(" Northern Herald ", 1894 ) and others. Articles on the history of Russian music: "What is beautiful demestvennoe singing" ("News of the Imperial Archaeological Society", 1863, vol. V), a description of Glinka's manuscripts ("Report of the Imperial Public Library for 1857") , a number of articles in the III volume of his works, including: "Our music over the past 25 years" ("Bulletin of Europe", 1883, No. 10), "The brakes of Russian art" (there the same, 1885, No. 5-6) and others; biographical sketch "N. A. Rimsky-Korsakov" ("Northern Herald", 1899, No. 12), "German organs among Russian amateurs" ("Historical Bulletin", 1890, No. 11), "In memory of M. I. Glinka" ("Historical Bulletin", 1892, No. 11 and otd.), "Ruslan and Lyudmila" M.I. Glinka, on the 50th anniversary of the opera "(Yearbook of Imperial Theaters 1891-92 and others)," Glinka's Assistant "(Baron F.A. Yearbook of Imperial Theaters ", 1892-93), biographical sketch of C. A. Cui (" Artist ", 1894, No. 2); biographical sketch of M. A. Belyaev (" Russian Musical Newspaper ", 1895, No. 2), "Russian and foreign operas performed at the Imperial Theaters in Russia in the 18th and 19th centuries" ("Russian Musical Newspaper", 1898, Nos. 1, 2, 3, etc.) ; in "Russian Musical Gazeta", 1900, No. 47), etc. Of great importance are the editions of letters made by Stasov to Glinka, Dargomyzhsky, Serov, Borodin, Mussorgsky, Prince Odoevsky, Liszt, etc. The collection of materials for the history of the Russian church singing, compiled by Stasov in the late 50s and transferred by him to the famous musical archaeologist D.V. Razumovsky, who used it for his major work on church singing in Russia.

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V.V. Stasov. From the "Mass Library" series. 1948. Author: A.K. Lebedev

In his article "Art Statistics", Stasov sharply criticized the policy of the autocracy, which in the 1980s, during the period of reaction, in every possible way prevented the penetration of "cook's children" into schools and closed the doors of the Academy of Arts for people from the people.

In his article "Exhibition at the Academy of Arts" (1867), he highly appreciates the painting Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) studied at the Moscow School of Painting, Sculpture and Architecture (MUZhVZ); along the way, continuing to paint icons. Taught at MUZHVZ ... « . 1862 Oil on canvas, 173 x 136»For the denunciation of the powerlessness of women expressed in it. Analyzing its content, he writes: "An old general, a dilapidated mummy with stars on his chest and, probably, sacks of gold in caskets, marries a young girl whose eyes are swollen and reddened from tears - this is a victim sold by a caring mother or aunt." “It seems that you see in the very reality of this old groom, with his last hair sticking out, smeared and smothered, you see his shaking head ... you seem to hear what this unfortunate sold girl thinks, who is already shaking hands with the priest, with his head and downcast eyes, he almost turns away from the disgusting old Bridegroom, glancing sideways at her; her hands are as if dead, they are ready to fall, the wedding candle, it seems, is about to slip out of her cold fingers and light the rich lace on the dress, which she has now forgotten about, and they probably played an important role when all relatives tried to persuade the poor girl marry a rich general. "

Having thus revealed the artistic image, having explained and condemned the meaning of the depicted phenomenon, Stasov emphasized that "this motive is repeating almost every day everywhere."

Each of his analysis is structured as if life itself is in front of the viewer's eyes, and not just its reflection in art.

About Repinsky " . 1872—1873 Oil on canvas, 131.5 × 281 cmState Russian Museum"He writes:" Before you is the wide, endlessly stretched Volga, as if melting and falling asleep under the scorching July sun. Somewhere in the distance a steaming steamer flashes, the inflating sail of the poor boat is gilded closer, and in front, stepping heavily on the wet shoals and imprinting the traces of their bast shoes on the damp sand, is a band of barge haulers. Harnessing their straps and pulling on the strings of a long whip, these eleven people walk in stride, a living wagon car, leaning their bodies forward and swaying to the beat inside their yoke. "

Appreciating the emerging picture The great Russian artist, painter, the greatest master of historical painting. Studied at the St. Petersburg Academy of Arts. He was a member of the Association of Itinerants from 1881 to 1907, then transferred to the "Union of Russian Artists". Since 1895 it was ... « . 1887 Oil on canvas, 304 x 587.5State Tretyakov Gallery"And depicting in bright colors the fanatical schismatic and all these people who sympathize and mock at her, Stasov turns to 17th century Russian life itself and says:" ... We can no longer worry about those interests that worried this poor fanatic two hundred years ago ... but one cannot help but bow before this strength of spirit, before this invincibility of the female mind and heart of the boyar, who, according to the notions of the people, was lamenting about its needs and grief ”.

“We shrug our shoulders at strange delusions, at vain, colorless martyrdom, but we no longer stand on the side of these laughing boyars and priests, we do not rejoice with them stupidly and brutally. No, we are looking for something else in the picture with a pretty gaze: all these drooping heads, lowered eyes, quietly and painfully glowing, all these meek souls who were at that moment the best and prettiest people, but compressed and crushed, and therefore they were not powerful say your real word ... "

The style, character and methods of criticism of Stasov are noteworthy.

Stasov revealed first of all the idea of ​​the work. Only proceeding from the content of the work, he considered its form, and more than once pointed out to the artists the shortcomings of their artistic language, the shortcomings of the drawing, the dullness of the color, called for the improvement of skills.

“... No matter how great and beautiful the content may be, our time, because of it alone, will not reconcile itself with the ineptitude of form; more than ever it demands from the artist a rigorous, profound teaching, skill, complete mastery of the means of art, otherwise it recognizes the works as not artistic, "he wrote.

An important feature of Stasov's critical method is his historicism. He never considered new phenomena of artistic culture without looking back at the history of art. He well understood the enormous decisive importance of the surrounding social life in the formation of art of one or another era and at the same time took into account the role of the internal connection of the phenomena of art. So, considering the art of the Itinerants as the brainchild of the social upsurge of the 60s-70s, he sees in the artist a kind of predecessor of this direction. And in turn to The great Russian artist, the founder of critical realism. Painter, graphic artist. Master of genre painting. Born June 22, 1815 in Moscow, in the family of a poor official. He studied at the 1st Moscow Cadet Corps, all his free time ... Stasov stretches creative threads from the small Dutchmen and the English artist of the 18th century Gogarth.

Considering each new work of the artist, Stasov examines it in connection with the previous works of this master, thus defining his creative path. This gives the critic the opportunity to always note the growth and further development of artists, to note the emergence of new features in their work.

Stasov's criticism was distinguished by the breadth of coverage of cultural phenomena. He understood the fine arts in the closest connection with literature, architecture and music. Stasov, for example, saw in Russian literature the "older sister" of fine art, more advanced and developed. Therefore, the comparison of painting with literature sounded high praise from Stasov.

« - a realist, like Gogol, and as much, it seems, deeply national. With boldness we have unparalleled, he ... plunged headlong into the depths of people's life, people's interests, people's painful reality, "- said Stasov in connection with the appearance of Repin's" . 1872—1873 Oil on canvas, 131.5 × 281 cmState Russian Museum».

Analyzing individual works Russian artist. The son of E.I. Makovsky and the artist's brother. Received medals from the Academy of Arts: in 1864 - 2 silver medals; in 1865 - 2 silver medals for the painting "The Artist's Workshop"; v..., Stasov compares them with the works of Ostrovsky, works - with the works of Turgenev, some Repin paintings - with the works of Pushkin, etc. Stasov in a number of cases compares works of painting and sculpture with works of music. So, for example, he wrote a long special article about The largest artist of the second half of the twentieth century, a representative of critical realism. A wonderful portrait painter, author of paintings on historical and biblical themes ... and Mussorgsky, in which he draws a parallel in their work and considers both artists as sons of the era of social upsurge of the 60s.

Stasov's daily friendly and comradely assistance to artists should be noted as a particularly positive feature of Stasov's critical activities. Vladimir Vasilievich was a friend-critic, comrade, advisor to artists and in every way he could, helped their creative growth. Stasov gave artists, in connection with the creative tasks facing them, numerous references and advice on the most diverse areas of knowledge. When Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, directed the workshop, was the rector at the Academy of Arts. The author of the book of memoirs "Distant Close". Among his students, ... paints a picture " ... 1972 Oil on canvas Moscow State Conservatory Moscow», Stasov selects for him biographical material about the characters in the picture; when Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, directed the workshop, was the rector at the Academy of Arts. The author of the book of memoirs "Distant Close". Among his students, ... working on " . 1879 Oil on canvas, 204.5 x 147.7State Tretyakov Gallery”, Stasov is looking for old images of Sophia for him. During work over the statue " ... 1882 Marble State Russian Museum"Stasov tirelessly helps him with his information about life, costumes, utensils, customs of 17th century Holland. Being well acquainted with librarians of the largest book depositories of the capitals of European states, Stasov constantly turns to them in order to find the material necessary for his friends-artists from rare editions. Under the influence of friendly instructions and advice from Stasov, they were created by artists, including Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, directed the workshop, was the rector at the Academy of Arts. The author of the book of memoirs "Distant Close". Among his students, ..., many outstanding works of Russian painting and sculpture. According to Stasov's instructions Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, directed the workshop, was the rector at the Academy of Arts. The author of the book of memoirs "Distant Close". Among his students, ... significantly altered and improved his painting " . 1884—1888 Oil on canvas, 160.5x167.5State Tretyakov Gallery". Artists deeply appreciated and respected this friendship of the critic, sharing with him their creative plans, impressions and thoughts.

To the workshop Famous Russian artist, master of battle paintings. In 1860 he entered the St. Petersburg Academy of Arts, but left it in 1863 dissatisfied with the teaching system. Attended the workshop of Jean Léon Jerome at the Paris School of Fine Arts (1864) ...., where access was closed to everyone, Stasov had free admission. The letters of the artists addressed to him are very grateful to the venerable critic.

In his letter to Stasov The most prominent sculptor of the second half of the 19th century. For the statue "" the artist was awarded the title of academician. Corresponding Member of the Paris Academy. Awarded the Order of the Legion of Honor. Honorary member of many Western European ... said (1896): “I am proud of the friendship of such a great citizen as you, who carried such a great soul, whose soul is enough for everyone and everything that is dear to Russian art and human art in general. But I wanted to tell you this: yesterday's triumph of mine was won by you, and it was won victoriously, with glory. "

At the same time, criticism of Vladimir Vasilyevich was notable for his directness. Even with regard to the artists closest to him, whom the critic considered at the same time outstanding masters, Stasov did not betray this principle.

A positive feature of Stasov's art criticism is its systematic character. Speaking for half a century of his activity on any significant event in the field of fine arts, he did not disregard neither new works of artists, nor lectures on art, nor exhibitions, nor art education, nor new art societies, nor critical statements by newspapers. and magazines. This systematic nature of art criticism, based on a serious everyday study of artistic life, greatly increased its impact on society and contributed to the establishment of a strong connection between the author and artists and wide circles of society.

Stasov's articles were intended not only for specialists, but also for the general public. They are distinguished by simplicity, imagery, accessibility and fascination; they often contain folk sayings and proverbs.

In his polemical speeches, images taken from literature are constantly cited. For example, addressing artists moving away from ideological realism and national themes in art towards academicism, Stasov said that they are deserters, like “Andriy Bulba in a strange camp, in the arms of a beautiful Polka, forgetting duty, shame, and honor , and the truth. "

He is witty and knows how to turn the arguments of the enemy into an evil caricature over him. So, for example, fighting for the free choice of topics of diploma works by students graduating from the Academy of Arts, Stasov, objecting to the article by the rector of the Academy Bruni, whom he calls "the lawyer of the Academy", writes: "The lawyer of the Academy" continues to imagine that there is no way to decide who is between students worthy of some reward, if you do not plant them on the same topic. Why? He gives that a very bad compliment to the Academy, as if he asserts that academic specialists are able to reason only between subjects of completely the same content, and as soon as this content is different, they will immediately become confused. After that, is it really possible to decide only which of the two peaches is better, and if the question is which is better: a good peach or a bad turnip, then we should already run aground. "

In a polemic with the reactionary newspaper Novoye Vremya, which absurdly tried to "debunk" the Wanderers by comparing their work with the works of Leo Tolstoy, Stasov wrote: "Count Leo Tolstoy also has very good references ... Count Leo Tolstoy has now turned to the writer of Novy time "with a mallet to beat those who do not like it over the heads. Who doubts that Leo Tolstoy is a great writer? But who said that everyone should create their works only in his manner and not a step to the side? What he has, then by all means give it, and not give it - now a slap on the head. On, they say, to you, why aren't you Leo Tolstoy! Both simple and smart. "

Stasov, like the "artel workers" and the Itinerants who were inseparable from him, spoke out with a bold, full of militant democracy, criticism of the old, obsolete, feudal-serf world. This was the strong point of Stasov's work. But he did not see clear ways of transforming society. He proceeded from only one ardent desire for a "reasonable" and "natural" life, proceeded from faith in a happy future of mankind. With the development of society, the complication of social relations, Stasov could not understand many of the phenomena of life around him. In this regard, many art phenomena of the 90s and 900s remained incomprehensible for the critic. Being an advanced democratic art critic for several decades and exerting a tremendous influence on the development of art in the era of reforms and the post-reform period, Stasov in the 90s lost to a certain extent his former influence on the fate of art, although his ardent statements in defense of ideological realistic art against mysticism , symbolism and formalism until the end of his life were correct and progressive.

During its heyday, Stasov's criticism was full of a sense of civic duty. She fostered a growing national art. She developed love for him, and through him for the homeland among the broad masses of Russian society. She participated in the democratic movement of the era and fiercely fought with her means for the vital interests of the broad masses of the people. Stasov was not only a critic of works of music, painting and sculpture, but also an outstanding connoisseur of the history of art, in particular the history of applied and decorative arts. He created a major work on the history of ornament. His archaeological research of the oldest images in the Crimean caves is of great interest for science.

The memory of Stasov is dear to our people. Repin was right when he predicted that the importance of an outstanding critic would be appreciated in the future.

"This man is a genius in his makeup, in the depth of ideas, in his originality and a sense of the best, new, his glory is ahead," he wrote Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, directed the workshop, was the rector at the Academy of Arts. The author of the book of memoirs "Distant Close". Among his students, ... about Stasov. “But many years later, when the original creations of Dargomyzhsky, Mussorgsky and others, who are still being thrown with the muck of routine, will emerge more and more, they will turn to Stasov and be surprised at his perspicacity and correct statements about the undoubted merits of the creations of art.”

The words Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, directed the workshop, was the rector at the Academy of Arts. The author of the book of memoirs "Distant Close". Among his students, ... come true. In the Soviet era, Stasov was highly appreciated and deserved.

Stasov's critical work is a rich heritage that must be deeply studied in the interests of the development of Soviet art and our artistic culture.