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Majestic and diverse Russian painting always delights viewers with its inconstancy and perfection of artistic forms. This is a feature of the works of famous art masters. They always surprised us with their extraordinary approach to work, their reverent attitude towards the feelings and sensations of each person. Perhaps this is why Russian artists so often depicted portrait compositions that vividly combined emotional images and epically calm motifs. No wonder Maxim Gorky once said that an artist is the heart of his country, the voice of an entire era. Indeed, the majestic and elegant paintings of Russian artists vividly convey the inspiration of their time. Similar to the aspirations of the famous author Anton Chekhov, many sought to bring into Russian paintings the unique flavor of their people, as well as an unquenchable dream of beauty. It is difficult to underestimate the extraordinary paintings of these masters of majestic art, because truly extraordinary works of various genres were born under their brushes. Academic painting, portrait, historical painting, landscape, works of romanticism, modernism or symbolism - all of them still bring joy and inspiration to their viewers. Everyone finds in them something more than colorful colors, graceful lines and inimitable genres of world art. Perhaps such an abundance of forms and images with which Russian painting surprises is connected with the enormous potential of the artists’ surrounding world. Levitan also said that every note of lush nature contains a majestic and extraordinary palette of colors. With such a beginning, a magnificent expanse appears for the artist’s brush. Therefore, all Russian paintings are distinguished by their exquisite severity and attractive beauty, which is so difficult to tear yourself away from.

Russian painting is rightfully distinguished from world art. The fact is that until the seventeenth century, Russian painting was associated exclusively with religious themes. The situation changed with the coming to power of the reforming tsar, Peter the Great. Thanks to his reforms, Russian masters began to engage in secular painting, and icon painting separated as a separate direction. The seventeenth century is the time of such artists as Simon Ushakov and Joseph Vladimirov. Then, portraiture arose in the Russian art world and quickly became popular. In the eighteenth century, the first artists appeared who moved from portraiture to landscape painting. The artists’ pronounced sympathy for winter panoramas is noticeable. The eighteenth century was also remembered for the emergence of everyday painting. In the nineteenth century, three movements gained popularity in Russia: romanticism, realism and classicism. As before, Russian artists continued to turn to the portrait genre. It was then that the world-famous portraits and self-portraits of O. Kiprensky and V. Tropinin appeared. In the second half of the nineteenth century, artists increasingly depicted the common Russian people in their oppressed state. Realism becomes the central movement of painting of this period. It was then that the Itinerant artists appeared, depicting only real, real life. Well, the twentieth century is, of course, the avant-garde. The artists of that time significantly influenced both their followers in Russia and throughout the world. Their paintings became the forerunners of abstract art. Russian painting is a huge wonderful world of talented artists who have glorified Russia with their creations.

Everyday genre (I. Firsov, M. Shibanov, I. Ermenev)

Secular art that emerged in the 18th century gave preference to the genre of portraiture and historical painting. With the exception of several Russian artists who were trained in Russia and abroad, the face of Russian painting was determined by invited masters from European countries. The landscape genre emerged quite late. Its appearance is associated with the founding of the St. Petersburg Academy of Arts, where in 1767 a landscape class was established that trained landscape painters. The establishment of this genre was also facilitated by the classes of perspective and theatrical scenery, from which many landscape painters emerged. Narrow specialties, including landscape painting, were introduced in the engraving class.

The landscape class from 1776 to 1804 was taught by a student of the Academy of Arts Semyon Shchedrin. A famous landscape painter graduated from the perspective class Fedor Alekseev. There were difficulties in finding a teacher for a theater design class. Therefore, in 1776, the Academic Council decided to send two students to the theater master - Yakov Gerasimov and Fedora Matveeva, later a famous landscape painter.

The retirement business trips of the most gifted Academy graduates were of great importance for the development of the landscape genre. Studying in Italy and France with great masters, pensioners improved their skills, reaching the level of European art. Famous Russian landscape painters visited abroad (and some stayed there): Maxim Vorobyov, Alexander Ivanov, Mikhail Lebedev, Semyon Shchedrin, Fyodor Matveev, Fyodor Alekseev, Sylvester Shchedrin and many others. This allowed the landscape genre to become equal with European art and continue to live its Russian life, finding its own identity, and respond to the problems of the spiritual reality of the country.

Fyodor Yakovlevich Alekseev (1753 - 1824)

He took the first step in Russian landscape painting towards a real depiction of the landscape. The subject of his art was the city landscape. In this sense, a line of urban perspectives has emerged in the Russian landscape. Alekseev creates a landscape filled with air thanks to the panoramic construction of plans. Perspective and aerial environment are crucial components of his landscapes. The artist’s works do not respond to ideas outside the landscape image, therefore they lack the element of extra-artistic interpretation of the subject of the image. A gentle range of cool tones usually prevails in St. Petersburg perspectives. The light painting corresponds to the real color of the city, and the airy environment seems to demonstrate the emotional excitement of the artist. The interpretation of landscape through the air was an innovation in Russian art. Perhaps only the Dutch, Claude Lorrain and Joseph Turner, turned to this technique, which became one of the essential means of pictorial solution to the theme. Alekseev's landscapes are contemplative. The calmly flowing light gives some of his works a tranquil quality. In Alekseev’s St. Petersburg landscapes one can feel the influence of Francesco Guardi, who turned to aerial panoramas when depicting Venice.

IN views of Nikolaev and Kherson the artist paid more attention to objectivity. Alekseev’s landscapes are sparsely populated by people, but where a semblance of an everyday genre arises, the landscape theme wins.

Alekseev represents the city both as a type of terrain and in the integrity of its life, and not just enjoying its architectural features ( View from Vasilyevsky Island to the English Embankment, 1810s). On the contrary, the landscapes of Moscow focus on the sights of antiquity, on the “ruins” inherent in the landscape of classicism. The city of Alekseev is lively, populated by working people, especially in painting Red Square in Moscow(1801) and images of St. Petersburg embankments. In this respect, the paintings are not similar to the staffage landscapes of Semyon Shchedrin or Benjamin Paterson.

Semyon Fedorovich Shchedrin (1745 - 1804)

Landscape by Semyon Fedorovich Shchedrin (1745 - 1804) took shape as an independent genre, unencumbered by various types of sandy loam. These were no longer exercises in perspective views, but images of terrain views. Being a pensioner of the Academy of Arts, Shchedrin studied in France, where he was patronized by the Russian ambassador in Paris, Prince DA Golitsyn, in fact, the first Russian art critic to write an essay on the theory and history of art. Judging by Shchedrin's early work Noon(1779), executed in the wake of his stay in Italy, the artist was clearly influenced by classicism. Classicism had its own ideological and plastic concept. The predetermined plot and theme are visible in the painting Noon, for which the artist received the title of academician. The characteristic plot with a herd and ruins, the color scheme typical of classicism, dividing the composition into plans - brown near and blue in the distance, the decorative interpretation of trees, not natural, but transformed into a fluffy cloud, are evidence of the emergence of the genre of composed landscape.

Landscape paintings were intended to decorate palaces and therefore, along with palace panels, served decorative functions. These functions determined the meaning and structure of the St. Petersburg period of Shchedrin’s work, including the easel landscapes he executed in 1792-1798: Mill in Pavlovsk (1792), View of the Gatchina Palace from the Long Island (1796), View in Gatchina Park (1798).

It cannot be said that the landscape was entirely composed by Shchedrin. It is based on a specific type, but it is arbitrarily transformed by the artist.

In 1799-1801, by order of Paul I, Shchedrin wrote panel for Mikhailovsky Castle. In them, the artist not only strengthened the decorative features of his manner, but changed the character of landscape as a genre, which had emerged in his previous works. In the panel Stone Bridge in Gatchina near Constable Square, the meaning and purpose of the Shchedrin landscape changes significantly. The panel fits into the interior of the palace, being subordinated to the task of specifically decorating the halls. The landscape itself, that is, the image of the area, becomes only a pretext for the implementation of another function of the work, adjusted to the architectural style of the interior. The apparent or previously occurring autonomization of landscape as an independent genre is subordinated to the task of decorating the interior of the palace. This results in the strengthening of the decorative beginning of the work, which neglects the accurate rendering of the subject of the image. The functions of decorative and easel works are different. Submitting to decorative tasks, the landscape genre turned into an illusion of the genre, losing or narrowing its independence in posing genre-landscape problems, in reflecting and reproducing life.

Everyday genre

In the second half of the 18th century. the first shoots appear in Russian painting everyday genre. The Academy considered the everyday genre as a lower type of painting compared to historical painting. The genre themes recommended by the Academy reduced everyday painting to simple everyday life painting and oriented artists towards the heritage of the so-called minor masters of Dutch painting of the 17th century. The genre scenes allowed by academic aesthetics in the landscape were idyllic or ethnographic in nature.

In contrast to this, works begin to appear in Russian art that truthfully depict the appearance of the Russian peasant. The theme of these first experiments in Russian realistic genre painting has a clearly expressed democratic orientation. One of the first works of the Russian everyday genre is the painting Ivan Firsov (c. 1733 - after 1784) “Young painter” (1765-1770; Tretyakov Gallery), executed by the artist, apparently in Paris and clearly based on the experience of French realistic genre painting. The painting depicts a scene in an art workshop, painted in soft pink and gray tones. It is notable for the artist’s interest in the private lives of middle-class people and is imbued with sympathy for the people depicted.

Among the most significant phenomena in the field of Russian everyday genre of this time are two works by the serf artist Mikhail Shibanov. His creative activity (he also worked as a portrait painter) began in the 1770s. His paintings date back to this time "Peasant Lunch"(1774) and "Celebration of the wedding contract"(1777) (both in the Tretyakov Gallery). All the images of the first painting - the old peasant, the old woman gathering food for the table, the young man cutting bread, and the woman preparing to feed a child - are significant and full of self-esteem. At the same time, they are quite individual: the artist notices the solemn seriousness and traces of fatigue in the face of an old man, the indifference of a tired man in the face of an old woman, the restrained tenderness in the pose and expression of a young peasant woman with a child. The simplicity of the composition, in which all unnecessary details are omitted, the restraint and severity of the color of the picture, designed in brown tones, enhance the significance of the images. Realism and spiritual nobility of images are also inherent in “The Celebration of the Wedding Contract,” the composition of which is somewhat constrained by echoes of academic canons. A loving and attentive attitude towards the peasant and his life is expressed here in the fact that the artist not only conveys with ethnographic accuracy the features of the peasant's festive attire, but also strives to reveal its aesthetic significance.

Another remarkable phenomenon in Russian art of the second half of the 18th century. creativity appeared Ivan Alekseevich Ermenev(1746 - after 1792), still very little studied. In the 1770s. he painted a series of watercolors depicting blind beggars wandering along country roads or singing in village squares. The images of Ermenev’s beggars are not devoid of mournful grandeur. Their stern, suffering faces, figures bent by illness and poverty, dressed in shabby robes, falling in straight, large folds, contain elements of monumentality.

The appeal of the first Russian genre artists to peasant themes is not accidental. After the Peasant War of 1773-1775. The peasant question firmly entered the circle of problems that worried the noble intelligentsia. The peasant problem became the main one in the life of the first half of the next, 19th century; It was on this basis that the Russian everyday genre was formed.

Thus, for Russian painting, the 18th century was the period of the birth and formation of its main genres - historical painting, everyday life, landscape; At the same time, this was the first period of the bright flourishing of Russian portrait art. The realistic tendencies of Russian painting of this century received their most profound and consistent expression precisely in the portrait. The portrait embodied the progressive views of the era on the value of the human person. The best examples of Russian portraiture of this time are characterized by concreteness and vivid emotional expressiveness of psychological characteristics, diversity and completeness of the types of portraiture themselves. Russian portrait made a bright and original contribution to the development of European portraiture of the 18th century.

In the second half of the 18th century. In Russian painting, certain techniques and rules for creating a multi-figure, plot-based painting that embodied the principles of classicism have developed. The patriotic and civic ideals of the era found expression here. Having very great importance for the Russian culture of their time, works of historical painting in general, however, are significantly inferior to portraits in terms of the degree of objectivity in the interpretation of reality, in terms of the level of artistic skill.

In the second half of the 18th century. Russian landscape painting is also taking shape, achieving its first successes in the formation of a method of truthfully reflecting the appearance of the surrounding world by the end of the period under review. The individual works of the Russian everyday genre that have come down to us, both by their nature and due to their relative paucity, do not constitute an integral artistic movement; nevertheless, in the best works of this kind, those fruitful trends are laid down that in a new historical period - in the 19th century - contributed to the remarkable flowering of Russian subject paintings dedicated to the life of the people.

Landscape is one of the genres of painting. Russian landscape is a very important genre both for Russian art and for Russian culture in general. The landscape depicts nature. Natural landscapes, natural spaces. The landscape reflects human perception of nature.

Russian landscape in the 17th century

Saint John the Baptist in the desert

The first bricks for the development of landscape painting were laid by icons, the background of which was, in fact, landscapes. In the 17th century, masters began to move away from icon painting canons and try something new. It was from this time that painting ceased to “stand still” and began to develop.

Russian landscape in the 18th century

M.I. Makheev

In the 18th century, when Russian art joined the European art system, landscape in Russian art became an independent genre. But at this time it is aimed at recording the reality that surrounded the person. There were no cameras yet, but the desire to capture significant events or works of architecture was already strong. The first landscapes, as an independent genre in art, were topographical views of St. Petersburg, Moscow, palaces and parks.

F.Ya. Alekseev. View of the Resurrection and Nikolsky Gates and Neglinny Bridge from Tverskaya Street in Moscow

F.Ya. Alekseev

S.F. Shchedrin

Russian landscape at the beginning of the 19th century

F.M. Matveev. Italian landscape

At the beginning of the 19th century, Russian artists painted mainly Italy. Italy was considered the birthplace of art and creativity. Artists study abroad and imitate the style of foreign masters. Russian nature is considered inexpressive and boring, so even native Russian artists paint foreign nature, giving preference to it as more interesting and artistic. Foreigners are warmly welcomed in Russia: painters, dance and fencing teachers. Russian high society speaks French. Russian young ladies are taught by French governesses. Everything foreign is considered a sign of high society, a sign of education and good manners, and manifestations of Russian national culture are a sign of bad taste and rudeness. In the famous opera P.I. Tchaikovsky, written based on the immortal story by A.S. In Pushkin’s “The Queen of Spades,” the French governess scolds Princess Lisa for dancing “in Russian,” which was shameful for a lady from high society.

S.F. Shchedrin. Small harbor in Sorrento with views of the islands of Ischia and Procido

I.G. Davydov. Suburbs of Rome

S.F. Shchedrin. Grotto Matromanio on the island of Capri

Russian landscape in the mid-19th century

In the mid-19th century, the Russian intelligentsia and artists in particular began to think about the undervaluation of Russian culture. Two opposing trends appear in Russian society: Westerners and Slavophiles. Westerners believed that Russia was part of global history and excluded its national identity, while Slavophiles believed that Russia was a special country, with a rich culture and history. Slavophiles believed that the path of development of Russia should be radically different from the European one, that Russian culture and Russian nature are worthy of being described in literature, depicted on canvas, and captured in musical works.

Below will be presented paintings that depict landscapes of the Russian land. For ease of perception, the paintings will be listed not in chronological order and not by author, but by the seasons to which the paintings can be attributed.

Spring in the Russian landscape

Savrasov. The Rooks Have Arrived

Russian landscape. Savrasov “The rooks have arrived”

Spring is usually associated with elation, anticipation of joy, sun and warmth. But in Savrasov’s painting “The Rooks Have Arrived” we see neither the sun nor the warmth, and even the temple domes are painted with gray colors, as if they had not yet awakened.

Spring in Russia often begins with timid steps. The snow is melting, and the sky and trees are reflected in the puddles. Rooks are busy with their rook business - building nests. The gnarled and bare trunks of birch trees become thinner, rising towards the sky, as if they are reaching out to it, gradually coming to life. The sky, which at first glance is gray, is filled with shades of blue, and the edges of the clouds are slightly lighter, as if the rays of the sun are peeking through.

At first glance, a painting can make a gloomy impression, and not everyone can feel the joy and triumph that the artist put into it. This painting was first presented at the first exhibition of the Wanderers Association in 1871. And in the catalog of this exhibition it was called “The Rooks have Arrived!” there was an exclamation point at the end of the title. And this joy, which is only expected, which is not yet in the picture, was expressed precisely by this exclamation mark. Savrasov, even in the title itself, tried to convey the elusive joy of waiting for spring. Over time, the exclamation mark was lost and the picture began to be called simply “The Rooks Have Arrived.”

It is this picture that begins the establishment of landscape painting as an equal, and in some periods, the leading genre of Russian painting.

I. Levitan. March

Russian landscape. I. Levitan. March

March is a very dangerous month - on the one hand the sun seems to be shining, but on the other it can be very cold and dank.

This spring is an air filled with light. Here the joy of the arrival of spring is already more clearly felt. It doesn’t seem to be visible yet, it’s only in the title of the picture. But, if you look more closely, you can feel the warmth of the wall, warmed by the sun.

Blue, rich, ringing shadows not only from trees and their trunks, but also shadows in snow potholes along which a person has walked

M. Claude. On the arable land

Russian landscape. M. Claude. On the arable land

In the painting by Michael Claude, a person (unlike a modern city dweller) lives in the same rhythm with nature. Nature sets the rhythm of life for a person who lives on earth. In the spring a person plows this land, in the fall he harvests the crop. The foal in the picture is like an extension of life.

Russian nature is characterized by flatness - you rarely see mountains or hills here. And Gogol surprisingly accurately characterized this lack of tension and pathos as “the continuity of Russian nature.” It was this “continuity” that Russian landscape painters of the 19th century sought to convey in their paintings.

Summer in the Russian landscape

Palenov. Moscow courtyard

Russian landscape. Palenov “Moscow courtyard”

One of the most charming paintings in Russian painting. Polenov's business card. This is an urban landscape in which we see the ordinary life of Moscow boys and girls. Even the artist himself does not always understand the significance of his work. Here we see a city estate and a barn already collapsing, children, a horse, and above all this we see a church. Here are the peasantry and the nobility and children and work and the Temple - all the signs of Russian life. The whole picture is permeated with air, sun and light - that’s why it’s so attractive and so pleasant to look at. The painting “Moscow Courtyard” warms the soul with its warmth and simplicity.

Residence of the American Ambassador Spas House

Today, on Spaso-Peskovsky Lane, on the site of the courtyard depicted by Palenov, there is the residence of the American ambassador, Spas House.

I. Shishkin. Rye

Russian landscape. I. Shishkin. Rye

The life of Russian people in the 19th century was closely connected with the rhythms of natural life: sowing grain, cultivating, harvesting. Russian nature has breadth and space. Artists try to convey this in their paintings.

Shishkin is called the “king of the forest” because he has the most forest landscapes. And here we see a flat landscape with a sown rye field. At the very edge of the picture a road begins and winds through the fields. In the depths of the road, among the tall rye, we see peasant heads in red scarves. In the background are depicted mighty pines that stride like giants across this field; on some we see signs of withering. This is the life of nature - old trees fade, new ones appear. The sky is very clear overhead, and clouds begin to gather closer to the horizon. A few minutes will pass and the clouds will move closer to the leading edge and rain will begin to fall. Birds that fly low above the ground remind us of this - the air and atmosphere bring them there.

Initially, Shishkin wanted to call this painting “Motherland”. While painting this picture, Shishkin thought about the image of the Russian land. But then he moved away from this name so as not to create unnecessary pathos. Ivan Ivanovich Shishkin loved simplicity and naturalness, believing that simplicity is the truth of life.

Autumn in the Russian landscape

Efimov-Volkov. October

Russian landscape. Efimov-Volkov. "October"

“There is in the primordial autumn...”

Fedor Tyutchev

There is in the initial autumn
A short but wonderful time -
The whole day is like crystal,
And the evenings are radiant...

Where the cheerful sickle walked and the ear fell,
Now everything is empty - space is everywhere, -
Only a web of thin hair
Glistens on the idle furrow.

The air is empty, the birds are no longer heard,
But the first winter storms are still far away -
And pure and warm azure flows
To the resting field...

Efimov-Volkov’s painting “October” conveys the lyrics of autumn. In the foreground of the picture is a young birch grove painted with great love. Fragile trunks of birch trees and brown earth, covered with autumn leaves.

L. Kamenev. Winter road

Russian landscape. L. Kamenev . "Winter road"

In the painting, the artist depicted an endless expanse of snow, a winter road along which a horse is dragging wood with difficulty. A village and a forest can be seen in the distance. No sun, no moon, just dull twilight. In the image of L. Kamenev, the road is covered with snow, few people drive along it, it leads to a village covered with snow, where there is no light in any window. The picture creates a melancholy and sad mood.

I. Shishkin. In the wild north

M.Yu.Lermontov
"In the Wild North"
It's lonely in the wild north
There's a pine tree on the bare top,
And dozes, swaying, and snow falls
She is dressed like a robe.

And she dreams of everything in the distant desert,
In the region where the sun rises,
Alone and sad on a flammable cliff
A beautiful palm tree is growing.

I. Shishkin. "In the Wild North"

Shishkin’s painting is an artistic embodiment of the motif of loneliness, sung by Lermontov in the poetic work “Pine”.

Elena Lebedeva, website graphic designer, computer graphics teacher.

Taught a lesson on this article in middle school. Children guessed the authors of poems and the names of paintings. Judging by their answers, schoolchildren know literature much better than art)))

Details Category: Russian Art of the 18th Century Published 03/04/2018 15:00 Views: 2346

In Russian art, landscape as a genre of painting appeared at the end of the 18th century. Its founder is considered to be Semyon Shchedrin.

Landscape began to develop in ancient Eastern art, but received independent significance in Western European art starting around the 14th century, during the Renaissance. Before this, it was only an accompanying element of the picture or background. Read more about the development of this genre of painting on our website.

Semyon Fedorovich Shchedrin (1745-1804)

Shchedrin's landscape paintings are based on the stylistic canons of classicism. The beauty of these landscapes is still very conventional, but the artist’s emotional feeling in the perception of pictures of nature is already quite clearly manifested in it. The depth and breadth of the distances are obvious, the contrast between the large foreground images and the green-blue expanses opening behind them, which overall gives his landscapes an impressive airiness. His work is already the path of landscape to an independent genre of painting in Russian art.
Semyon Fedorovich Shchedrin was born into a military family: his father was a soldier in the Life Guards Preobrazhensky Regiment. The boy received his primary education at the Preobrazhensky Regimental “Counting Commission for Teaching Writing.”
In 1765, S. Shchedrin graduated with a gold medal from the Academy of Arts, which he entered at the age of 14, and continued his studies abroad: in Paris and Rome. In Paris, he studied the works of old and modern artists and worked in the open air. The ideas of classicism, learned by him in Rome, are present in his further work.

Semyon Shchedrin “Landscape of the park in Tsarskoe Selo”
Returning to St. Petersburg in 1776, Shchedrin became a professor of landscape painting at the Academy of Arts, heading a new class of landscape painting. He creates views of the palaces and parks of Catherine the Great: “View of the island of the Big Pond in Tsarskoe Selo Gardens”, “Rural Courtyard in Tsarskoe Selo”.

Semyon Shchedrin “View of the Big Pond in the Park in Tsarskoe Selo” (1777)
Later Shchedrin takes part in the restoration of works of the Hermitage. Apart from several Italian landscapes brought back from Rome, and several works depicting various moments of maneuvers in Oranienbaum under Emperor Alexander I, all of Shchedrin’s other paintings are landscape views. His works of this period include views of parks and palaces in Pavlovsk, Gatchina, Peterhof. All of them are written according to the rules of academic classicism.
Most of Shchedrin's paintings were acquired by members of the Imperial House. The artist died on September 1, 1804 and was buried at the Smolensk cemetery in St. Petersburg.

Semyon Shchedrin "Eagle Column in Gatchina Park"

Semyon Shchedrin “Landscape in the vicinity of St. Petersburg”

Fyodor Mikhailovich Matveev (1758-1826)

Russian landscape artist, master of classic landscape.
During his lifetime, Fyodor Matveev was recognized as the best Russian master of “landscape art” of the late 18th and early 19th centuries. But then his name and work were forgotten.
Fyodor Matveev, like Semyon Shchedrin, is the son of a soldier, but only of the Life Guards Izmailovsky Regiment. Already at the age of 6, he was accepted into the first intake of the Educational School at the St. Petersburg Academy of Arts. He studied in the landscape painting class and in 1778, the first in this class, received a large gold medal, and a year later he went as a pensioner to Rome to improve his skills.
Matveev lived in Italy for 47 years. He never returned to Russia, although he planned to do so several times. Debts, financial difficulties and other circumstances prevented him from returning to his homeland. But in 1806 he sent the painting “View of Naples from the Foot of Posilipo” to the Academy of Arts, for which he received the title of academician.

Fyodor Matveev “View of Naples from the foot of Posilipo” (1806). Canvas, oil. 101 x 136 cm. State Russian Museum (St. Petersburg)
Most often, Fyodor Matveev’s landscapes are panoramic views. They go deep into space and are barely visible in the distance. The artist always devotes a lot of space to the sky. People are usually depicted in the middle ground. Their small figures show the scale of nature's paintings.

Fyodor Matveev “Landscape with a waterfall” (1810s)

Fyodor Matveev “Swiss landscape (1818). Nizhny Novgorod State Art Museum

Fyodor Matveev “Neighborhoods near Tivoli” (1819). State Tretyakov Gallery (Moscow)

Fyodor Yakovlevich Alekseev (between 1753/1755-1824)

M. Terebenev. Portrait of F.Ya. Alekseeva

Russian painter, one of the founders of the Russian urban landscape. A painting, drawing, or engraving of a detailed depiction of an everyday cityscape is called leader.
Another Russian artist, Mikhail Ivanovich Makhaev, was also a master of the vedata. But more about him a little later.
Fyodor Yakovlevich Alekseev was born in St. Petersburg, in the family of a guard at the Academy of Sciences. He received his primary education at a garrison school, and in 1764, at the request of his father, he was admitted to the Imperial Academy of Arts. He studied in the class of ornamental sculpture, and then in the “painting class” with G. Fondermint and A. Perezinotti. A gold medal at the end of the Academy gave him the right to continue his education abroad as a pension.

Fyodor Alekseev “View of the Palace Embankment from the Peter and Paul Fortress” (1794)
In 1773-1777 improved as a theater artist in Venice, and at the same time painted landscapes (“Schiavoni Embankment in Venice”, “Interior view of a courtyard with a garden. Loggia in Venice”, 1776).

Fedor Alekseev “Interior view of the courtyard with a garden. Loggia in Venice" (1776). Copy of the painting. State Russian Museum (St. Petersburg)
Returning to Russia, he worked as a decorator for the Imperial Theaters, and in his free time he copied Italian masters of urban landscapes (G. A. Canaletto, B. Bellotto, C. J. Vernet) in the Hermitage. These copies brought success and fame to the painter - he left work on theatrical scenery and devoted all his time to his favorite work - landscape. The artist painted views of Kherson, Nikolaev, Bakhchisarai, Poltava, Voronezh, Orel - all from life.

Fyodor Alekseev “View of the city of Nikolaev (1799)
In 1800, Paul I ordered F. Alekseev to paint views of Moscow.

Fyodor Alekseev “Red Square with St. Basil’s Cathedral” (1801). Museum of the Institute of Russian Literature (St. Petersburg)
In a letter to the President of the Academy of Arts A. S. Stroganov, Alekseev wrote: “After looking around Moscow, I found so many beautiful objects for paintings that I am at a loss as to which type to start with; I had to decide, and I have already started the first sketch of the square with St. Basil’s Church and will use the winter to paint the picture.”

Fyodor Alekseev “View of the Resurrection and Nikolsky Gates and Neglinny Bridge in Moscow” (1811). State Tretyakov Gallery (Moscow)

Fyodor Alekseev “Cathedral Square in the Moscow Kremlin”
The works of F. Alekseev of the “Moscow cycle” are stored in the State Tretyakov Gallery and in the State Historical Museum.
In the 1810s Alekseev created a new series of St. Petersburg landscapes, in which with great accuracy and love he captured the austere appearance of St. Petersburg and the poetry of its everyday city life.

Fyodor Alekseev “View of the Mikhailovsky Castle and Constable Square in St. Petersburg” (c. 1800). State Russian Museum
The artist died in poverty on November 11, 1824; the Academy of Arts allocated money for the funeral and assistance to a large family. He was buried at the Smolensk Orthodox Cemetery in St. Petersburg.

Mikhail Ivanovich Mahaev (1718-1770)

Russian artist, master of drawing and engraving, especially architectural landscape.
Born in St. Petersburg in the family of a priest. At the age of 11 he was sent to the Academy of Sciences, where he studied mathematics and geometry. Then he studied topography. In 1736, together with other students, he completed the task of sketching in ink and watercolor objects from Peter's Kunstkamera for reproduction in engravings. This work gave a lot to the aspiring artist and expanded his horizons.
M. Makhaev did a lot of self-education, studied the laws of constructing perspective, drew from life, and studied foreign languages.

M. Makhaev “View of the Fontanka” (1753). Engraving
As a result, Makhaev achieved a certain skill: he could convey the appearance of the building with almost photographic accuracy. Often used staffage. Staffage– in landscape painting, refers to small figures of people and animals, which are usually depicted for secondary purposes. Staffage was widespread in the 16th-17th centuries, when landscape painters added mythological and religious scenes to their paintings.

M. Makhaev “View of the Winter Palace”
But in Makhaev’s works, staffing plays not only a technical, but also an artistic role: it creates an image of a place and conveys the character of everyday life. The figures of people, combined into genre scenes, correspond to the compositional center (building): courtiers at the Summer Palace, carriages of dignitaries and horsemen in front of the State Collegiums, a crowd of city people and cab drivers next to the Exchange, etc. The image of the city is complemented by trees, which are boldly introduced into the composition.

"View of the Neva downstream between the Winter Palace and the Academy of Sciences." Engraving by G.A. Kachalov and E.G. Vinogradov based on a drawing by M.I. Makhaeva
After the founding of the Academy of Arts, the artistic activities of the Academy of Sciences were abolished. But the landkart workshop continued to work. Makhaev was engaged in correcting drawings and views of Russian cities attached as illustrations to maps of Russia.
The artist died in St. Petersburg in 1770 and was buried in the cemetery at the Annunciation Church on Vasilyevsky Island.

Specialty of the Higher Attestation Commission of the Russian Federation17.00.04
Number of pages 187

Chapter 1. Lively landscape in the view of temporary 11

Chapter 2. Landscape genre at the Academy of Arts 41

Chapter 3. Typological and compositional features of landscape in the 18th century RKOM TV 74

Chapter 4. Easel landscape and landscape motifs in monumental and decorative painting, engraving, graphics and arts and crafts 90

Chapter 5. Landscape as an element of other genres 117

Chapter 6. The place of landscape in art collections and interiors of the 18th century 132

Recommended list of dissertations in the specialty "Fine and decorative arts and architecture", 17.00.04 code VAK

Russian landscape of the mid-19th century: The problem of formation and development paths 2000, candidate of art history Krivondenchenkov, Sergey Viktorovich
MM. Ivanov and landscape graphics in Russia in the second half of the 18th century 2005, candidate of art history Kaparulina, Olga Anatolyevna
Landscape painting of Altai 1960-1970s. 2002, candidate of art history Nekhvyadovich, Larisa Ivanovna
Decorative paintings by Italian artists in the interiors of St. Petersburg at the end of the 18th - first third of the 19th century 2005, candidate of art history Trefilova, Irina Viktorovna
Typology of landscape images of the masters of the "World of Art" in the context of Russian artistic culture of the late 19th - early 20th centuries 2013, candidate of art history Grishina, Ekaterina Valerievna

Introduction of the dissertation (part of the abstract) on the topic “Landscape in Russian artistic culture of the 18th century: Features of the genre and its existence”

The work is devoted to the Russian easel landscape of the 18th century, as well as works related to the landscape genre in graphics, monumental painting, decorative and decorative arts.

The history of the landscape genre in the context of the problems of Russian artistic culture of the 18th century has been considered for quite a long time in works devoted to the fine arts of this era. In modern art history, with varying degrees of detail, it received coverage in the multi-volume “History of Russian Art”, ed. I.E. Grabar, in the fundamental works of N.N. Kovalenskaya (“History of Russian Art of the 18th Century” and “Russian Classicism”), A.A. Sidorov “Drawing of Old Russian Masters” (1) and other studies. These works, based on rich factual material, characterize the work of the most outstanding masters of the landscape genre in easel and decorative painting, as well as in the field of graphics.

Issues related to the creation of picturesque landscapes at the St. Petersburg Academy of Arts are discussed in the book by N. Moleva and E. Belyutin “The Pedagogical System of the Academy of Arts in the 18th Century.” (2) It analyzes the theoretical foundations and practical methods of teaching in landscape and perspective classes, and addresses the issue of the role of genre in the structure of academic education.

Information about the peculiarities of the development of the landscape genre is also contained in works devoted to the history of engraving and monumental decorative painting. The most significant of them is the MA book. Alekseeva about Russian engraving of the 18th century and V. Belyavskaya’s monograph “Murals of Russian Classicism”. (3)

The number of monographic studies on Russian landscape painters of the 18th century is relatively small. Among them, we highlight the work of M.S. Konopleva about Sem.F. Shchedrin, where materials for the artist’s biography (4) and numerous articles by M.A. are collected. Alekseeva, covering the activities of M.I. Makhaeva. The main attention of art historians was attracted by F.Ya. Alekseev. Books and articles about the master of urban views were written at different times by I. Grabar, A.A. Fedorov-Davydov, E.N. Atsarkina, M.I. Androsova, N.N. Skornyakova. (5)

The only comprehensive study devoted to Russian landscape painting of the 18th - early 19th centuries belongs to A.A. Fedorov-Davydov. (6) Published in 1953, it remains of great scientific value to this day. Extensive factual material gives this work a truly encyclopedic character. Along with the historical and chronological one, a problematic approach was used here, which made it possible to trace the formation of landscape as a genre in Russian art. In the context of general problems, the author analyzes the work of the most significant representatives of the landscape genre of the 18th and early 19th centuries: Semyon Shchedrin, Fyodor Matveev, Mikhail Ivanov, Fyodor Alekseev, Sylvester Shchedrin.

In our work, we relied heavily on this fundamental work. It served as an important support in the study of the topic, a kind of starting point that largely determined the design of the research undertaken. However, some of its provisions and attribution information require updating and may be the subject of discussion.

A.A. Fedorov-Davydov considers the 18th century as the initial stage in the formation of the Russian landscape school. One of the main tasks of the researcher is to identify its national identity. The scientist represents the general formation and development of the landscape genre in Russian art of the 18th century as a steady, progressive movement from a decorative, conventional landscape image to semantic and pictorial realism. Today, this position needs some adjustment.

The possibility of further studying issues related to the history of a very important genre for Russian art is far from exhausted. This also applies to the artistic features of easel and decorative landscapes, as well as the problem of existence, which is closely related to their participation in the formation of the artistic environment of the era. The role of Western European landscape painters and their works that existed in the context of Russian artistic culture is far from completely clear. For quite a long time, the desire to emphasize the independence and originality of the development of domestic fine art was accompanied by a lack of attention to the pan-European context.

The original meaning of the terms used to characterize easel and decorative landscapes in the 18th century also needs clarification and clarification. In modern literature, their inaccurate interpretation often leads to distortion of the content and confusion of different types of landscapes. All this determines the relevance of the study of one of the leading genres of Russian painting.

It should be noted that the dissertation put forward for defense does not represent yet another history of landscape in Russian art of the 18th century. The main goal is to study the "landscape vision" of the era?

Features of the creation and further existence of a picturesque landscape as a subject of professional art in Russian artistic life of that time. Identification of the relationships between the spheres of artistic production and consumption in the field of the landscape genre determines the scientific novelty of the research.

The purpose of the work necessitates the formulation and solution of a number of problems. Particular attention is focused on the analysis of judgments about the content of the landscape image that were expressed by contemporaries: fine art theorists, writers, and lovers of the fine arts. In the context of the problem of perception, we considered it necessary to compare the features of the figurative and compositional structure of the pictorial and literary landscape in the second half of the century.

The dissertation examines the position of the landscape genre in the St. Petersburg Academy of Arts, revealing the relationship of easel landscape with similar works in decorative and monumental painting, engraving, original graphics, and painting on porcelain. The decorative and semantic possibilities of landscape as an element of other genres are revealed.

One of the most important tasks is to clarify the role of the pan-European tradition in the process of forming the national genre structure. In the context of the problem of educational copying, a number of Western European landscape “samples” used within the walls of the Academy are clarified. The peculiarities of the perception and existence of architectural and natural views in Russian art are demonstrated by the classification of the typological structure of the genre carried out in the dissertation.

The easel landscape is explored as a collectible and one of the ways of decorating interiors. The meaningful role of easel and decorative types in various types of apartments is reconstructed.

To solve these problems, a number of paintings from the collections of the State Tretyakov Gallery, the State Russian Museum, and the State Historical Museum were studied, a wide range of various types of publications and materials from the collections of the Russian State Historical Archive, the Russian State Archive of Ancient Acts, and the scientific and bibliographic archive of the Academy of Arts were used. , Department of Manuscripts of the State Tretyakov Gallery and State Public Library in St. Petersburg.

The study of contemporaries’ ideas about the role and tasks of the landscape genre was based on the works of Russian fine art theorists of the 18th century, who served as guides for students of the Academy of Arts: A.M. Ivanova, I.F. Urvanova, P.P. Chekalevsky, A.I. Pisarev, (7) as well as the works of Western European philosophers and figures in the field of fine arts. In this sense, the works of the French art critic D. Diderot are of particular value.

Important sources containing numerous information about Russian landscape painters who studied at the Academy of Arts and reflecting the history of its landscape and perspective classes are the Collection of materials on the history of Imp. Academy of Arts P.N. Petrova, Dictionary of Russian Artists N.P. Sobko, Dictionary of Russian Engravers, ed. YES. Rovinsky. (8)

Material for studying the role of easel landscapes in public and private collections is contained in the work of J. Shtelin, published by K. Malinovsky, “A Brief Inventory of Objects Constituting the “Russian Museum” of Alexander Svinin.” (9) We discovered valuable evidence about the significance of the works of Western European landscape painters in the field of domestic art education when working with collection registers and inventories, as well as with the collection of art publications and prints in the library of the Academy of Arts, where the best collection of engravings in the world has been preserved since the 18th century. .-B. Piranesi, French and English editions of the 17th and 18th centuries.

The time frame of the dissertation covers the period from the beginning of the 18th century to the turn of the 19th century. The greatest attention is paid to the second half of the 18th century - a time of active creation of its own genre structure based on the pan-European tradition.

The research method used in the work combines art history and historical and cultural analysis.

Notes:

1. History of Russian art / Ed. Academician I.E. Grabar / Academy of Sciences of the USSR. M., 1961; Kovalenskaya N.N. History of Russian art of the 18th century. M., 1962; Kovalenskaya N.N. Russian classicism. Painting, sculpture, graphics. M., 1964; Sidorov A.A. Drawing by old Russian masters. M., 1956.

2. Moleva N. Belyutin E. Pedagogical system of the Academy of Arts in the 18th century. M., 1956.

3. Alekseeva M.A. Engraving from the time of Peter the Great. M., 1990; Belyavskaya V.

Paintings of Russian classicism. JI.-M., 1940.

4. Konopleva M.S. S.F. Shchedrin. Materials for biography and characteristics of creativity // Materials on Russian art. JL, 1928. pp. 143-160.

5. Grabar I. Fedor Yakovlevich Alekseev // Old Years, 1907, July-September. pp. 357-390; Fedorov-Davydov A.A. Fedor Yakovlevich Alekseev. M., 1955; Atsarkina E.N. F. Alekseev // Communications of the Institute of Art History. M., 1954. No. 4-5. pp. 76 - 96; Androsova M.I. Fedor Alekseev. JL, 1979; Skornyakova N.N. Views of Moscow at the beginning of the 19th century. Painting and graphics by F. Alekseev and his workshop // Pages of the artistic heritage of Russia of the 16th-20th centuries. Proceedings of the State Historical Museum. Vol. 89. M., 1997. pp. 33-48.

6. Fedorov-Davydov A.A. Russian landscape of the 18th - early 19th centuries. M., 1953.

7. Ivanov A.M. The concept of a perfect painter, which serves as the basis for judging the works of painters, and a note on portraits. St. Petersburg, 1789; Pisarev A. Inscription of art or Rules in painting, sculpture, engraving and architecture, with the addition of various passages regarding art selected from the best writers. St. Petersburg, 1808, Urvanov I.F. A short guide to the knowledge of historical drawing and painting, based on speculation and experience. Composed for students by the artist I. U. St. Petersburg, 1793; Chekalevsky P.P. Discussion about free arts with a description of some works of Russian artists. Published in favor of the Students of the Imperial Academy of Arts by the Advisor to the Embassy and thereof

Academy Conference Secretary Peter Chekalevsky. St. Petersburg, 1792 (republished by the Research Institute of Theory and History of Fine Arts, M., 1997. Footnotes on the reprint.)

8. Rovinsky D.A., comp. Detailed dictionary of Russian engravers of the XVI-XIX centuries. St. Petersburg, 1895. T. 1-4; Collection of materials for the history of the Imperial St. Petersburg Academy of Arts over a hundred years of its existence. Published under the editorship of P.N. Petrov and with his notes. St. Petersburg, 1864; Sobko N.P., comp. Dictionary of Russian artists. St. Petersburg, 1893.

9. Svinin P.P. Collection of Excellent Works of Russian Artists and Curious Domestic Antiquities Belonging to Pavel Svinin. Started in 1819. St. Petersburg; Shtelin Ya. Notes of Jacob Shtelin about the fine arts in Russia. M. 1990. T 12.

Conclusion of the dissertation on the topic “Fine and decorative arts and architecture”, Usacheva, Svetlana Vladimirovna

Conclusion

The work carried out showed that the processes of creating and using picturesque landscapes in various spheres of Russian artistic culture are closely interrelated. As we have seen, the peculiarities of the existence of easel landscapes largely determined the development of the domestic landscape school. In the first half of the century, they came to Russia mainly from outside as collectibles. In the second half of the century, the process of creating a domestic typological and figurative structure of the genre began. It took place in line with the pan-European tradition. As evidenced by the material reviewed, being in collections and interiors, the works of foreign landscape painters participated in shaping the tastes of Russian customers and provided the opportunity for domestic artists to become acquainted with the principles and practical methods of creating landscapes. Ideas about the content of species and the tasks of landscape painting in Russian culture reflected judgments widespread throughout Europe.

Analysis of the collected material revealed the significant role of samples or “originals” of the Dutch, Flemish, Italian and French schools in the training of landscape painters at the Academy of Arts, where the copying method was one of the main ones in the training of painters. The importance of landscape in the academic genre structure is evidenced by the participation of landscape elements in other pictorial genres. The landscape background played particular importance in portrait and genre painting.

The Academy, being one of the main collectors of Western European easel landscapes, was the place where the national landscape structure was created. The classification of landscape types carried out in the work demonstrates the intensity of the development of the old Western tradition and, at the same time, its creative interpretation. The domestic landscape genre is an organic part of the pan-European landscape culture of the 18th century. This primarily applies to image types. Among them, views of cities predominate, especially capital cities, as well as Italian and manor landscapes. As we tried to show, these types have the characteristic features of “topographical” landscapes (that is, they depict real-life locations and monuments), and, at the same time, follow the classical landscape “scheme”, which includes generally accepted techniques of spatial and coloristic construction of paintings, as well as certain points of view on the most famous architectural structures and natural views.

This situation reveals the greatest closeness to English artistic culture. The founder of the “topographical” landscape, valued by customers for its “portraiture” authenticity, is considered to be A. Canaletto, an outstanding representative of the classical landscape tradition, a master of urban painting. His work, widely popular in England, served as an impetus for the development of his own landscape school, in which urban and estate views predominated.

However, if in England such types of landscapes, according to D. Wedgwood, were common not only in the houses of the nobility, but also of gentlemen, in Russia they became primarily part of the culture of the nobility. Thus, the specificity of the artistic features of the domestic landscape, as in other countries, largely depended on the social context.

The collected material shows that the main place in Russian collections (primarily royal ones) was occupied by “rural” types of Dutch and Flemish artists, the most democratic in content. They also played an important role in the education of domestic painters, attracting academic teachers with their artlessness of landscape motifs and “thorough”, that is, reliable rendering of nature. More refined park views with gallant scenes, as well as landscapes with exotic architectural monuments and fantastic ruins, were more often used for interior painting and in painting on porcelain. Easel landscapes, used to decorate palace and private interiors, were also primarily decorative in nature.

Today, the most promising seems to be further research into picturesque landscapes and “landscape vision” as part of the artistic environment of the era. The structure of the genre appears in this case as the result of the joint efforts of customers and creators of works. At this stage, without pretending to make final conclusions and generalizations, we will make some assumptions in this area.

In our opinion, the circle of customers, initially limited to the nobility, largely determined the typological features of the emerging structure of the landscape genre and its further development. In particular, the popularity of estate views, widely represented in Russian paintings and engravings, reflected the flourishing of estate culture in Russia in the second half of the 18th century. At the end of the century, we can talk about the expansion of the social environment in which landscapes, both painted and engraved, exist. The interest of customers of different social status in the types of cities, old and new, domestic and foreign, is indicative. Thus, engravings by J.-B. Piranesi, representing the architectural antiquities of Rome, were commissioned by I.I. Shuvalov simultaneously for Catherine II and the Academy of Arts. At the same time, they went on free sale in St. Petersburg. About attention

The popularity of landscapes of St. Petersburg and Moscow by F.Ya. testifies to the popularity of Russian lovers of images of their own capitals. Alekseev, orders for which he carried out for the Academy and individuals. The works of B. Paterson, which he created specifically for sale, as well as the works of other artists who painted views of capitals and their environs, were successful among the general public. Further study of the commercial activities of the Academy, in particular, sales from Factorskaya, may make it possible to more accurately determine the circle of customers for landscapes and identify their preferences.

It can be said that identifying connections between the spheres of creation and existence of picturesque landscapes makes it possible to consider the development of the landscape genre in the domestic school as an integral process that unites the creators of works and their consumers.

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