Vasnetsovs. Viktor Vasnetsov (artist). The life path and work of the most famous Russian artist of the 19th century Viktor Mikhailovich Vasnetsov full biography

Biography of Vasnetsov

VASNETSOV Viktor Mikhailovich, Russian painter. He studied in St. Petersburg at the Drawing School of the Society for the Encouragement of Arts (1867-68) with I. N. Kramskoy and at the Academy of Arts (1868-75), of which he became a full member in 1893.

Since 1878 member of the Association of Itinerants. Visited France (1876) and Italy (1885). Lived in St. Petersburg and Moscow. During his studies, he made drawings for magazines and cheap folk products ("The People's Alphabet" by Stolpyansky, published in 1867; "Taras Bulba" by N.V. Gogol, published in 1874). In the 1870s. He produced small genre paintings, carefully painted primarily in a grayish-brown color scheme. In street scenes and home life Vasnetsov captured small merchants and officials, the urban poor and peasants with great observation Various types contemporary society ("From Apartment to Apartment", 1876, "Military Telegram", 1878, both in the Tretyakov Gallery).

In the 1880s, having left genre painting, he created works on the themes national history, Russian epics and folk tales, devoting almost all of his further work to them. One of the first Russian artists to turn to Russian folklore, Vasnetsov sought to give an epic character to his works, to embody age-old folk ideals and high patriotic feelings in poetic form.

Vasnetsov created the paintings “After the Battle of Igor Svyatoslavich with the Polovtsians” (1880), “Alyonushka” (1881), imbued with sincere poetry, “Ivan the Tsarevich on the Gray Wolf” (1889), “Bogatyrs” (1881-98), filled with faith in heroic forces of the people, "Tsar Ivan Vasilyevich the Terrible" (1897, all in the Tretyakov gal.).

With a general focus easel painting Vasnetsov 1880-1890s. His work for the theater is closely related. The scenery and costumes for the fairy tale play “The Snow Maiden” by A. N. Ostrovsky (staged in home theater S. I. Mamontov in 1882) and the opera of the same name by N. A. Rimsky-Korsakov (at the Moscow Private Russian Opera of S. I. Mamontov in 1886), performed according to sketches Vasnetsova, - example creative interpretation of authentic archaeological and ethnographic material - had a great influence on the development of Russian theatrical and decorative art in the late 19th - early. 20th centuries Landscape backgrounds of Vasnetsov's works on fabulous and historical topics, imbued with a deeply national feeling of native nature, sometimes remarkable for the lyrical spontaneity of its perception (“Alyonushka”), sometimes epic in character (“After the massacre of Igor Svyatoslavich with the Polovtsians”), played an important role in the development of Russian landscape painting.

In 1883-85 Vasnetsov completed the monumental panel "Stone Age" for the Historical Museum in Moscow, in 1885-96 most of the paintings of the Vladimir Cathedral in Kyiv. In the paintings of the Vladimir Cathedral, Vasnetsov tried to introduce spiritual content and emotionality into the traditional system of church monumental painting, which in the 2nd half of the 19th century. came into complete decline. Vasnetsov’s painting in his mature period, distinguished by his desire for a monumental and decorative artistic language, the muted sound of generalized color spots, and sometimes an appeal to symbolism, anticipates the “modern” style that later became widespread in Russia.

Vasnetsov also performed a number of portraits (A. M. Vasnetsov, 1878; Ivan Petrov, 1883; both in the Tretyakov Gallery), illustrations for “Song of prophetic Oleg"A. S. Pushkin (watercolor, 1899, Literary Museum, Moscow). Based on his drawings, the church and the fabulous “Hut on Chicken Legs” were built in Abramtsevo (near Moscow; 1883), the facade of the Tretyakov Gallery was built (1902). Soviet time Vasnetsov continued to work on folk fairy tale themes(“Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych”, 1918; “Kashchei the Immortal”, 1917-26; both paintings are in the V.M. Vasnetsov House-Museum in Moscow).

A master of historical and mythological painting, he wrote more than 30 works on the themes of Russian fairy tales, songs, epics, historical events. “I have always lived in Russia,” said Viktor Mikhailovich Vasnetsov. He became famous for such works as “Bogatyrs”, “The Knight at the Crossroads”, “Alyonushka” and others. They can be called picturesque poetic tales about the native Russian people, about the glorious national antiquity and its immortal Russian heroes.

Vasnetsov spent his childhood and early youth in a semi-patriarchal family, in the distant Vyatka side, in the small village of Ryabovo. The father, a village priest, himself taught his sons to read and write. For a long time winter evenings children loved to listen to fairy tales about Alyonushka and Kashchei the Immortal. And little Vitya also loved to draw - the blue sea, sailing ships sailing on the billowing waves. Victor’s brother, Appolinary Vasnetsov, was also involved in drawing in the family.

Victor first studied in Vyatka, at a theological seminary. But he was more interested in drawing. And after graduating from the seminary, Viktor Vasnetsov went to study in St. Petersburg, at the Academy of Arts. He earned the money for the trip himself. I didn’t enter the Academy right away; I studied at the Drawing School.

While studying at the Academy, there was always a shortage of money, and Vasnetsov worked part-time as an illustrator in magazines and cheap publications. His illustrations were popular, full of lively observation, sincere, sometimes humorous, and earned a bronze medal at the World's Fair in London.

Vasnetsov began working in everyday genre, having gained fame with such films as “The Beggar Singers”, “The Book Shop” and others. In them, the artist showed without embellishment the life of the poor, social injustice in Russian society.

At the turn of the 70s - 80s, a turning point occurred in Vasnetsov’s art. He becomes a master of Russian historical and mythological painting. In 1878, Vasnetsov moved to Moscow, which greatly influenced the artist’s work - with its patriarchal streets, ancient Kremlin, and ancient churches, it inspired and inspired him.

In Moscow, the Vasnetsov brothers actively participated in the Mamontov circle of artists and art lovers, who gathered at Mamontov’s estate in Abramtsevo. It included such Russian artists as Repin, Polenov, Levitan, Nevrev, Vrubel and many others. And this also contributed to the flourishing of the talent of artist Viktor Vasnetsov.

No one, like Vasnetsov, drew so widely and freely from the world of ancient, Russian folk, nameless creativity and left so many wonderful works to its glory.

He was a believer and painted many paintings on religious themes. He himself wrote about it this way: “As for my religious painting, I will also say that I, as an Orthodox Christian and as a sincere Russian believer, could not help but light a penny candle for the Lord God. Maybe this candle is made of rough wax, but it was delivered from the heart,"

In his paintings, Vasnetsov glorified the Russian people, their heroic prowess, courage, their kindness and nobility. He painted the scenery for theater performances, came up with sketches for costumes. The project he created for the facade of the Tretyakov Gallery, made in the spirit of ancient Russian buildings, became a true masterpiece.

The first picture painted by Vasnetsov in St. Petersburg was “Beggar Singers.” The plot arose from childhood memories of those beggar singers who usually crowded around the Ryabov church on holidays and sat on the ground. As a child, these beggars evoked in him some kind of painful, melancholy feeling. And so the preparation for the film began. Vasnetsov drew, made sketches, wrote etudes. Work on the painting progressed slowly, but Vasnetsov’s perseverance and hard work took their toll and the work was completed. And although many praised the picture, Vasnetsov himself already saw all its shortcomings.

In the first hungry months of his life in St. Petersburg, when he wandered around the city, looking for where he could eat cheaply and sit warm, he more than once went into a run-down tavern and a teahouse. I watched for a long time, listened to the conversations of different visitors, and sometimes made sketches. This is how the idea for the picture came about.

The door to the teahouse is open. To the right of the door, a group of peasants is sitting at a table, apparently this is an artel of carpenters who came to St. Petersburg to earn money. They are resting after work. On the table there are two teapots, as was customary then, one large - with boiling water, the other small, colorful - for tea. They drink tea slowly and sedately. The guy younger than the others has already taken a sip of tea, knocked over the cup, and is listening to what the artillery scribe, who has a newspaper in his hand, is reading. To the left of the door, an old man sits at a table; he is deep in thought, and he has such an exhausted face that you can immediately tell that he has lived a difficult life. A boy, a tavern servant, stopped at the door; he looks at a lonely old man, to whom he is probably carrying a teapot and saucer of sugar. And behind the boy’s back is a new visitor, who looks like a tipsy artisan.

The painting was exhibited at the third traveling exhibition, where it made a good impression on the audience.

A gloomy St. Petersburg winter day. Grey sky. The Neva is frozen, and two people are walking through the dirty snow across the Neva - an old man and an old woman. They walk slowly, bent over, their faces are sad, submissive. In my hands are bundles of miserable rags and a coffee pot. With them the old little dog is a faithful companion both in sorrow and in joy. This must not be the first time that, in the middle of winter, they have moved to a new, cheaper apartment.

The picture is painted in grayish-brown tones, and this color scheme, which conveys the idea of ​​the picture so well, perhaps for the first time Vasnetsov managed to find such a subtle sincerity.

This last piece Vasnetsov in the everyday genre. Here the artist showed the philistine life, devoid of bright impressions, too leisurely, too petty. The insignificance of human characters and interests clearly stands out in contrast to the poetic life of nature - the beauty of a summer night visible through the door open to the balcony. The painting "Preference" completes the cycle of Vasnetsov's everyday paintings. A decisive turning point occurs in the artist’s work.

A Russian hero, a knight in rich armor, wearing a helmet, with a spear in his hand, stopped at a roadside stone on a powerful white horse. The endless steppe with boulders scattered across it goes into the distance. The evening dawn is burning down; a reddish stripe brightens on the horizon, and the last weak ray of the sun slightly gilds the knight’s helmet. The field where Russian soldiers once fought is overgrown with feather grass and the bones are white. dead people, and above the field there are black crows. The Knight reads the inscription on the stone:

"How can I drive straight - I'll never be there:
There is no way for the passer-by, the passer-by, or the flyover.”
Further the lines are hidden under grass and moss. But the knight knows what they are talking about:
"To go in the right direction - to be married,
To the left - to be rich."

What path will the knight choose? Vasnetsov is confident that the audience will “finish” the picture themselves. The glorious Russian knight does not look for easy ways, he will choose a difficult but direct path. All other paths are closed to him. Now he will shake off unnecessary thoughts, raise the reins, spur his horse, and his horse will carry him to battle for the Russian land, for truth.

Big historical painting, written to the tune of "The Tale of Igor's Campaign". The epigraph to Vasnetsov’s work is lines from “The Lay”...:

"From dawn to evening, the whole day,
From evening to light arrows fly,
Sharp sabers rattle on helmets,

With a crash, spears break damask steel...
...They have been fighting for three days now;
The third day is already approaching noon;
Here Igor’s banners fell!

The brave Russians are no longer
There's bloody wine for the feast,
They got the matchmakers drunk, and they themselves
They died for their father's land."

The painting is not just an image of a battle, but an epically majestic and enlightened poetic work that evokes deep admiration for the heroic death of the heroes who fell for the Motherland, for Holy Rus'. The painting depicts a field after a battle, the artist talks about how brave Russians know how to die defending their native land.

The battle is over; The moon slowly rises from behind the clouds. Quiet. On the field lie the bodies of killed Russian knights, the Polovtsians lie. Here, with his arms spread wide, the Russian hero sleeps in eternal sleep. Next to him is a beautiful fair-haired young man, struck by an arrow - he seems to be sleeping. In the depths of the field, on the right, solemnly and calmly, lies the murdered hero, the bow still clutched in his hand. The flowers - blue bells, daisies - have not even had time to wither, and vulture eagles are already hovering over the field, sensing prey. On foreground on the left is an eagle cleaning its feathers. The horizon is covered with blue clouds, the red moon, as if washed in blood, hangs over the steppe. Dusk falls on the steppe. Deep sadness is spread throughout the Russian land.

Like a heroic outpost, Igor’s regiments stood on the border of their land and died for its honor and inviolability - such is the content of this epically majestic and deeply lyrical picture.

The canvas "The Last Judgment" was created in 1896 - 1904, among other works for St. George's Cathedral in the city of Gus-Khrustalny Vladimir region by order of the largest manufacturer and philanthropist Yu.S. Nechaev-Maltsev, who built this cathedral. The artist completed several works on a religious theme, but “The Last Judgment” was to occupy a central place in the cathedral.

The artist made for the painting a large number of sketches, so acquaintances and friends who saw these sketches in Vasnetsov’s studio showed great interest in the painting in advance. At first, the artist was offered to exhibit the painting in the Tretyakov Gallery, but this idea was unsuccessful, since the dimensions of the painting significantly exceeded the size of the room. Nevertheless, such an exhibition took place in February 1904 at the Historical Museum in Moscow. The new work evoked numerous responses in the press, mostly enthusiastic. Later, the painting, along with others made for the cathedral, was exhibited twice more: in the halls of the Academy of Arts in St. Petersburg and again in the Historical Museum in Moscow.

Finally, in 1910, the paintings were delivered to their destination and mounted on the walls of St. George's Cathedral, where they briefly found peace.

And soon after October revolution the service in the cathedral was stopped. In February 1923, the authorities made a decision: “...the empty premises of St. George’s Cathedral should be transferred to a cultural and educational institution...” On the very first Sunday, dances were organized in the temple premises, a brass band played... Debates were held on the topic: “Is there God?" Subsequently, the cathedral was used either for workshops or for a cinema.

Meanwhile, the paintings were taken to the Vladimir Assumption Cathedral. They took them out as they had to, without any caution. Moreover, the painting “The Last Judgment” was rolled onto a large pole, torn at the bottom and hastily sewed up with twine. Before that, it had been folded several times and was frayed on the folds.

In the 80s of the last century, it was decided to restore the St. George Cathedral in Gus-Khrustalny, and also to return Vasnetsov’s paintings to their original place.

The Last Judgment was in in serious condition. Therefore, it was assigned to be restored by a team of Leningrad restorers under the leadership of the greatest specialist A.Ya. Kazakov, known for restoring the paintings of St. Isaac's Cathedral, Peterhof and Tsarskoye Selo. The colossal dimensions required a large room, so the canvas was restored in Catherine's Palace Pushkin.

The work carried out by specialists was unique in scope and complexity. The solid canvas measuring 700X680 centimeters was punctured in more than 70 places, there were numerous tears at the edges and breakthroughs. The canvas was seriously deformed, resulting in scree and peeling paint. Hard work was carried out for about a year. And so a special commission accepted the work with an “excellent” rating. In 1983, the painting took its place in St. George's Cathedral.

The artist embodied the idea of ​​free moral choice man between good and evil. The work was not just an illustration of a religious plot. In front of it, everyone could feel themselves in the place of an unknown soul awaiting the verdict of the highest court. The people who came to the cathedral had to think and make their choice of “path in life” with “free will.” Vasnetsov eloquently makes it clear that the scales in the hand of an angel come into action not only at the moment Last Judgment. The entire middle part of the picture is perceived as huge scales, on the scales of which are crowds of righteous and sinners, light and darkness... “The entire history of mankind is the struggle of the beast man with the spiritual man...”, the artist wrote.

Good and evil in the film are personified in characters from Russian and Christian history. Among the righteous, the figures of the Byzantine emperors Constantine and Helen, Princess Olga and Prince Vladimir, Alexander Nevsky and Sergius of Radonezh are distinguishable. Among the sinners are Emperor Nero, the conqueror Batu, oriental despots and Roman cardinals... At the same time, many allegorical characters were introduced: Faith, Hope, Love, Sophia, Mercy and others - on the one hand, and on the other - Greed, Drunkenness, Robbery, Anger, etc. Texts and inscriptions are actively used.

Religion, history, and folklore are intricately intertwined here. Thus, the miser swallows gold coins - he is somewhat similar to Repin’s Ivan the Terrible... Among the righteous are depicted an old man and an old woman, as if transported to the Judgment from a Russian folk tale, and the harlots placed behind the Devil resemble characters from salon paintings...

One of the critics wrote this for many years: “The Last Judgment” is a series of symbols, sometimes powerful, sometimes weak, but generally irresistible. This is a terrible oratorio beyond time and space. But this is one of those few truly artistic creations that are worth seeing once to remember forever." And he was right...

The hero of this picture is Ivanushka the Fool - beautiful prince. His older brothers always laugh at him. And when trouble comes, he overcomes all obstacles, and his smart, kind heart conquers evil as the sun conquers darkness. He manages to wake up the sleeping beauty, make Princess Nesmeyana laugh, and get the firebird, which brings happiness to people.

A flying carpet flies high in the sky and Tsarevich Ivan tightly holds the firebird in a golden cage. Like a huge bird, the magic carpet spread its wings. Night owls fly away in fear from an unknown bird...

When Vasnetsov painted this picture, he remembered that first Russian man, a lordly serf, who, on wings he made himself, back in the time of Ivan the Terrible, tried to fly into the sky from a high tower. And even if he died, even if people ridiculed him then for his daring attempt, but proud dreams of flying into the sky will never disappear, and the magic flying carpet will always inspire people to exploits.

The plot of this picture arose in Vasnetsov’s head by accident, when he saw in the town of Akhtyrka, not far from Abramtsevo, a bare-haired girl who captured the artist’s imagination. There was so much melancholy, loneliness and purely Russian sadness in her eyes that Vasnetsov immediately imagined the picture. I wandered around the area for a long time, looking for a suitable landscape, drawing sketches, writing sketches...

This is one of the most touching, sincere images in Russian painting, stirring the soul with its heartfelt lyricism, consonant with a fairy tale and folk song about the bitter fate of a defenseless orphan.

A thin, fragile girl with the affectionate Russian name Alyonushka yearns for the river. She bowed her head sadly, clasped her knees with her thin arms, and thought, perhaps, about her bitter lot or about brother Ivanushka. Rough bare feet, old, sometimes faded clothes - it would seem unattractive, but for an artist who sympathizes with his heroine, here the whole world beauty, just like in the modest Russian landscape - dark fir trees, pale sky, ordinary thin-trunked aspens and birches, as if protecting Alyonushka’s peace. Deep sorrow lurks in the soul of the suffering teenage girl; it shows through in the helplessly drooping figure, and in the pale face with parched lips, and in big eyes full of unshed tears.

Alyonushka is shown by Vasnetsov sitting on a gray “flammable” stone, surrounded by her native nature - on the edge of the forest. This modest and simple Russian landscape, with its thoughtful, sensitive silence, broken only by the vague rustling of the yellowed leaves of aspens and birches, trembling with every movement of air, answers state of mind orphans.

The picture is based on the plot of a Russian folk tale, which Vasnetsov heard more than once in childhood. Three brothers were looking for a bride. The elder brother searched but did not find it. I looked for the middle one and couldn’t find it. And the youngest, Ivanushka the Fool, found the treasured stone, moved it away and fell into underground kingdom, where three princesses lived - Gold, Precious Stones and the Princess of Copper.

Three princesses are standing by a dark rock. The elders are in rich outfits studded with precious stones; the youngest is in a black dress, and on her head, in her black hair, a coal is burning as a sign that the lands of the Donetsk region are inexhaustible (the painting was painted by order of Donetsk railway). Vasnetsov took some liberties here and turned Princess Copper into Princess Coal. According to the fairy tale, younger sister marries Ivanushka the Fool.

Another “fairy-tale” painting by Vasnetsov. When she appeared at the exhibition, spectators stood in front of her for a long time. It seemed that they heard the dull rustling of the dense forest, the gentle rustling of the pale pink flowers of the wild apple tree, the rustling of the leaves under the feet of the wolf - here he is, a strong, kind giant wolf, out of breath, saving Ivan Tsarevich and Helen the Beautiful from pursuit. And curious birds sit on a branch and look at them.

“Your “Ivan the Tsarevich on the Wolf” delighted me, I forgot everything around me, I went into this forest, I breathed in this air, smelled these flowers. All this is mine, dear, good! I simply came to life! Such is the irresistible effect of the true and sincere creativity." - This is what Savva Ivanovich Mamontov, an industrialist, famous philanthropist and great lover of art, an exceptionally gifted person, wrote to Vasnetsov after the exhibition of the painting.

A bright, wonderful picture. Here she is, the sweet, light Snow Maiden - the child of Frost and Spring - comes out of the dark forest alone, to the people, to the sunny country of the Berendeys.

Young lady! Is she alive? - Alive!
In a sheepskin coat, in boots, in mittens!

Before us is a portrait of Ivan the Terrible, the image of one of the most controversial rulers of the Russian state. Ivan the Terrible is presented in full height, so that the viewer is forced to look up at him, as it were, which gives the image special significance and grandeur. As if in a hard, reliable case, the figure of the king is dressed in heavy, tightly buttoned, woven golden clothing (feryaz), in patterned mittens and chobots, studded with pearls. And in this barbaric pomp, with a carved staff imperiously clutched in his sinewy hand, he seems like some kind of pagan deity.

Peering into the pale and thin face of Ivan the Terrible, which clearly stands out in the dim space of the stairs, you see in it traces of the stormy, unbridled passions of the autocrat. Before us is a passionate, frantic and contradictory nature.

Vasnetsov worked on this painting for almost 25 years, and finally, in 1898, this large epic canvas was completed.

strong heroic outpost Three heroes stand in defense of Holy Rus' - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich. In the middle, on a black horse, is “great ataman Ilya Muromets, peasant son.” His horse is huge, arches his neck like a wheel, and sparkles with a red-hot eye. You won’t be lost with such a horse: “He leaps from mountain to mountain, jumps from hill to hill.” Ilya turned heavily in the saddle, took his leg out of the stirrup, put his hand in a patterned mitten to his eyes, and on his hand was “a damask club of forty pounds.” Vigilantly, sternly, he looks into the distance, looking closely to see if there is an enemy somewhere. On his right hand, on a white shaggy horse, is the hero Dobrynya Nikitich, taking out his long, sharp treasure sword from its scabbard, and his shield is burning, adorned with pearls and gems. To the left of Ilya - on a golden horse - the most junior hero, Alesha Popovich. He looks slyly with his beautiful, clear eyes, took an arrow from his colored quiver, and attached it to the ringing string of a tight bow. and a samogud harp hangs near the saddle.

The heroes are dressed in rich clothes, beautiful clothes, clad in strong armor, they have helmets on their heads. Autumn day, gray - the sky is low, clouds are moving across the sky; The grass is trampled under the horses' feet, the fir trees are tenderly green. The free Russian steppe stretched wide before the heroes, and behind them were dense forests, hills and mountains, cities and villages - the entire native country of Rus'.

Do not let enemies ride across our land,
Do not trample Russian land with their horses,
They will not outshine our red sun...

“The language of this picture-ballad is simple, majestic and powerful; every Russian will read it with pride, every foreigner with caution if he is an enemy, with a feeling of calm faith in such power - if he is a friend,” he said so very well Soviet artist V.N.Yakovlev.

O Bayan, O prophetic songwriter,
Nightingale of times long past...

Here he is, the “prophetic songwriter” Bayan, sitting on a high burial mound, among field herbs and flowers, fingering his harp, composing and singing songs. Around the princely squad and the prince himself with his little prince, and clouds swirl and float across the sky.

A decorative, widely painted picture, it caused a lot of the most controversial rumors! But in this simple and at the same time complex picture Vasnetsov’s amazing sense of proportion, taste, and sincerity was reflected.

Comes from a family of clergy. Father Mikhail Vasilyevich Vasnetsov, like his grandfather and great-grandfather, was a priest. In the second year of birth, the boy and the whole family are transported to the village of Ryabovo, where the artist’s father received a new parish. The artist spent his childhood in Ryabovo, in the same province, along with his five brothers. Brother Apolinarius also became an artist in the future; he was eight years younger than Viktor Vasnetsov. Vasnetsov studied at a peasant art school at a time when there was a party struggle against the clergy. Father Mikhail could not pay for his son’s studies in painting. So at the age of ten the boy enters the Vyatka Theological School, then at fourteen he enters the Vyatka Theological Seminary. On last year However, Victor leaves to enter the Academy of Arts without completing his studies. The father blessed his son, and he received money at an auction for two of his paintings - “The Milkmaid” and “The Reaper” - he already received the money while in St. Petersburg. So in 1867, Vasnetsov arrived in St. Petersburg with virtually no means of subsistence.

At the Academy of Arts, young Vasnetsov successfully passes the drawing exam. But I still didn’t realize that I had entered and studied for a year at the Drawing School at the Society for the Encouragement of the Arts. In 1868, he began studying at the Academy, where his favorite mentor was P. Chistyakov.

At the Academy, Vasnetsov was close friends with Repin and painted genre paintings in the spirit of the Itinerants. His first painting at the traveling exhibition was “Tea Party in a Tavern” (1874).

In 1875 Vasnetsov V.M. leaves the Academy of Arts without graduating, and in 1876 goes to Paris, where he stays for more than a year with Academy pensioners Repin and Polenov. Paints the painting “Acrobats” (1877) – a genre work executed with French scenery.

Returning to Russia, he joined the Association of Traveling Art Exhibitions as a genre artist. The artist moved to live in Moscow, his new acquaintances were S. Mamontov and P. Tretyakov. In Abramtsevo he is a member of a circle of artists, where he designs the Church of the Savior Not Made by Hands for the estate. And his studies in decorating for the Mamontov Private Opera lead him to become interested in Russian folklore. Vasnetsov came from the provinces, was conquered by Moscow, its historical monuments, here the talent of the Russian artist develops and strengthens, big changes in his work.

In 1880, a painting by V.M. Vasnetsov appeared at the VIII traveling exhibition. - “After the massacre of Igor Svyatoslavich with the Polovtsians” - based on “The Tale of Igor’s Campaign.” I. Kramskoy, P. Chistyakov and I. Repin spoke with admiration about this painting. This picture was painted on the threshold of unrest and popular unrest. The task of Vasnetsov’s new direction in painting is to find a positive path for Russia. Vasnetsov devoted all his further work to this.

From 1885 to 1896, Vasnetsov designed the Vladimir Cathedral in Kyiv. He painted the cathedral together with M. Nesterov. So Vasnetsov V.M. became a famous icon painter and received a large number of church orders.

In 1892 - professor at the Academy. However, later, in 1905, Vasnetsov, in protest against the political prejudices of young artists, refused this title.

In 1893, Vasnetsov received the title of full academician of painting.

In 1899, Vasnetsov’s famous painting “Bogatyrs” saw the light of day. Then a personal exhibition of the Russian artist took place.

In 1912, Vasnetsov was elevated to “the dignity of the nobility of the Russian Empire with all descendants.” His fairy-tale paintings were symbolic at that time Vasnetsov was an opponent of the revolution and did not accept the changes that had occurred. Magazines trashed the artist’s work to smithereens. Last unfinished work Vasnetsov had a portrait of M. Nesterov, a kind old comrade and student. The artist’s life ended in another country – the USSR.

Famous works of Viktor Mikhailovich Vasnetsov

The painting “From Apartment to Apartment” was painted in 1876 and is located in the State Tretyakov Gallery in Moscow. This work permeates the Dostoevsky sound of the plot. According to the plot of the film, an old man and an old woman are expelled from their apartment due to poverty - this is indicated by old clothes, a collected bundle - and are forced to wander in search of a new home. Their faces are filled with suffering, their eyes are filled with despair and confusion. A stray dog ​​is also depicted, shriveled from the cold, which enhances the hopelessness of the entire scene. This painting is considered the best of Vasnetsov’s works, executed in a genre style. There is no academicism here, instead of which the huge shortcomings of society are depicted. That is why the artist left the Academy of Arts and joined the Wandering movement.

Vasnetsov, “based on” “The Tale of Igor’s Campaign,” painted the painting “After the Battle of Igor Svyatoslavich with the Polovtsians” in 1880. The painting can be seen in the State Tretyakov Gallery in Moscow. At the VIII traveling exhibition of 1880, I. Kramskoy said about the picture shown: “This is an amazing thing that will not be truly understood soon.” This picture is not a look into the past, but from the past to the present. The painting does not depict the battle itself, but its conclusion. With this picture Vasnetsov moved from genre painting to monumental historical and folklore works. The compositional and semantic center of the picture is the pectoral cross hanging from the neck of the killed warrior-youth. The face of the fallen hero expresses calmness, there is no malice in it. All this shows the tranquility of the picture. Vultures symbolize demons tearing the souls of people. Only the intertwined bodies of a Russian warrior and a Polovtsian speak of a recent fierce battle.

Painting by Vasnetsov V.M. "Alyonushka" (1881). Vasnetsov painted this picture based on a Russian fairy tale. I started in the summer in Akhtyrka near Abramtsevo, and finished in the winter in Moscow. At that time, he attended Tretyakov’s musical evenings, where he listened to Bach, Mozart, and Beethoven. Vasnetsov nurtured the plot of “Alyonushka” for a long time and wrote it only when he met a Russian girl with eyes full of sadness and loneliness. “Some kind of special Russian spirit wafted from her,” Vasnetsov said. The face, pose, and clasped fingers expressively reflect the girl’s deep sadness. Fairytale birds lurked on the branches of trees. Here Vasnetsov conveyed human experiences through nature. The dark water of the pool attracts Alyonushka.

Painting “The Knight at the Crossroads” (1882). The painting was created by Vasnetsov based on the plot of the epic “Ilya Muromets and the Robbers.” The first sketches were made by the artist in the 1870s. In 1878, the first version of the painting “The Knight” was painted, which opens the series folklore works Vasnetsova. In 1882, the Russian artist painted a second version for S. Mamontov, larger in size, with the monumentality of painting. This new option was not the last, but it became generally accepted. This work intertwines folklore “fantasy” and realistic details. When painting, he studied the history of the era in the historical museum, in the Armory. The inscriptions on the prophet stone were taken by the artist in Public library. The knight is depicted with a lowered spear in deep thought in front of a stone, however, from the picture it is already clear what the only decision will be made. A huge bird - an obligatory character of Russian folklore - is spread out on the horizon line. It is written on the stone: - “How to drive straight - I will not live - there is no way for the passerby, nor the one driving, nor the one flying over.” Vasnetsov partially erased or hid other inscriptions (“Ride to the right – married being; drive to the left – rich being”). The painted skull and bones complement the plot of the picture.

Masterpiece by Vasnetsov V.M. Painting "Bogatyrs"

The painting was created from 1881 to 1898 and is stored in the State Tretyakov Gallery in Moscow. The artist worked on this painting for almost thirty years (the first sketch was made in 1871). In Paris in 1876 - a sketch made in Polenov’s Parisian workshop. In April 1898, P. Tretyakov bought the completed painting; “Bogatyrs” became one of his last acquisitions. In the same year, Vasnetsov organized a personal exhibition in which “Bogatyrs” was the main work. According to Vasnetsov, “Bogatyrs” were his creative duty, an obligation to his native people. So, along with the harsh depiction of life (realism), interest arose in the origins folk culture, to folklore.

Ilya Muromets Vasnetsova is a simple, simple-minded person, a mighty warrior.

Dobrynya Nikitich is experienced, courageous, prudent and educated (in his youth he went through “school” with six elders). This image was taken by Vasnetsov from the folk epic.

The viewer looks at the heroes as if from the bottom up, which is achieved by placing the horizon line in a higher position. There is a treasure sword and a fierce horse under Ilya, as indicated by a massive metal chain. All this is taken from epic tales about Russian heroes.

• Acrobats

• From apartment to apartment

• Knight at the crossroads

• Alyonushka

• After the massacre of Igor Svyatoslavich with the Polovtsians

Vasnetsov Viktor Mikhailovich short biography famous Russian artist is presented in this article.

Victor Vasnetsov short biography

Vasnetsov Viktor Mikhailovich was born on May 15, 1848 in the remote Vyatka village of Lopyal in large family village priest. Victor loved to listen since childhood folk tales and songs, legends. They instilled in the boy a love for Russian folk art.

The boy's talent manifested itself in early age, but due to lack of money, he was sent to a theological school and then a seminary. Children of priests were admitted there free of charge. However, the craving for art led the 19-year-old seminarian from Vyatka to St. Petersburg, to the Academy of Arts.

While studying at the Academy, the young artist worked a lot (as an engraver and draftsman, and collaborated with a number of St. Petersburg magazines). I created illustrations for the alphabet with great interest. But most of all, the artist was captivated by thoughts about the heroic strength of Russian soldiers, about beauty, about freedom.

In 1876, Vasnetsov came to Paris at the invitation of Repin. At the exhibition the artist’s attention was attracted by big picture about fairy knights. And again he remembered his idea of ​​​​creating a painting dedicated to Russian heroes.

In the summer of 1881, Vasnetsov wrote sketches in Abramtsevo and began working on the painting “Bogatyrs”. But only in 1898, Vasnetsov completed this picture.

Since 1893, Vasnetsov became a full member of the Russian Academy of Arts.

In 1899, Vasnetsov opened his first exhibition in Moscow, central work the painting “Bogatyrs” appears on it.

The great artist Viktor Mikhailovich Vasnetsov was born on May 15, 1848 in the village of Lopyal, in the family of Mikhail Vasilyevich Vasnetsov, a priest. The father predicted a future for his son as a clergyman, and in the early years of the young Vasnetsov’s formation, the young man obeyed his parents in everything and was already following in his father’s footsteps. However, a few years later his fate changed dramatically. The biography of the artist Vasnetsov contains pages of the formation and flowering of the talent of one of the most famous painters in the entire history of the Russian state.

He did not have students, like, for example, V.I. Surikov or others famous artists, but the skill of Viktor Vasnetsov was open to imitation by any novice painter. And young artists tried to learn the “Vasnetsov” halftones present in his epic subjects, or the rich, cheerful colors that made the master’s landscapes so bright.

Seminary and art

In 1858, at the insistence of his father, young Vasnetsov was assigned to a theological school, where he studied for four years, and then continued his studies at the Vyatka Theological Seminary. At the same time, his talent as a painter was discovered, and the future artist began to learn drawing from N. G. Chernyshov, a gymnasium teacher. Then, with the favor of his father, he left the seminary and moved to St. Petersburg, where he entered the school of drawing and art development, in the class of Ivan Nikolaevich Kramskoy. After studying at school for one year, Vasnetsov transferred to the Academy of Arts and there continued his painting classes.

The artist exhibited his student works for public viewing while still within the Academy’s walls, so that they would be assessed by recognized masters of the brush. Reviews from venerable artists on the works of the novice painter Vasnetsov were the most favorable, many critics noted the creativity young artist like a new word in art.

Association of Itinerants

After graduating from the Academy of Arts in 1873, Vasnetsov the artist began to participate in exhibitions of the Itinerants organized in St. Petersburg and Moscow. The “Partnership” included twenty famous Russian artists, among whom were: Kramskoy I.N., Repin I.E., Shishkin I.I., D., Surikov V.I. and others. Viktor Vasnetsov was represented in traveling exhibitions with two paintings: “The Knight at the Crossroads” and “Alyonushka”.

Heyday and decline

The goal of the Peredvizhniki artists was to introduce Russian art to the broad masses of the people. Exhibitions were held everywhere, in cities and large villages, and the traveling movement developed and grew stronger. The heyday of the "Partnership" occurred in the years 1870-1880. Later, the activities of the Peredvizhniki began to fade for a number of objective reasons, and in 1922 their last exhibition took place.

Abramtsevo

Russian artist Vasnetsov was part of the Abramtsevo art club", organized by the industrialist and philanthropist Savva Mamontov, the owner. Meetings of artists, sculptors, writers and musicians were organized under the roof of the hospitable house of Savva Ivanovich, and later the circle turned into a major center of Russian culture. Painters came to Abramtsevo and lived there for months, creating their immortal works canvases. Viktor Vasnetsov was also a frequent visitor, he was inspired by the untouched nature of the protected surroundings, primordial Russian values, fields, forests and village people How an integral part of landscapes.

Academy of Arts

In 1893, Vasnetsov the artist joined the Academy of Arts and, already being a full member of the Academy, continued his fruitful work in the field of recreating Russian culture. Revolutionary movements at the beginning of the twentieth century, the great artist was also affected. Vasnetsov did not directly participate in the activities of the Union of the Russian People, a right-wing monarchist organization, but he indirectly supported the Black Hundred movement and even financed individual publications, such as the Books of Russian Sorrow. In 1912, the artist was inducted into the nobility Russian Empire. And in 1915 he became an active member of the Society for the Revival of Rus', which united many artists of that time.

Variety of creativity

The work of the artist Vasnetsov is distinguished by a variety of styles, which cannot be said about other Russian painters. He created paintings using opposing genres, sometimes incompatible with each other. Pictures of everyday life with real characters were replaced by canvases with fairy tales. And yet, throughout the artist’s entire creative period, epic historical themes run through him. It was in this genre that Vasnetsov created his main masterpieces: “Bogatyrs” (1898), “Tsar Ivan Vasilyevich the Terrible” (1897), “Ivan Tsarevich on Gray Wolf"(1889), "Alyonushka" (1881), "The Knight at the Crossroads" (1882), "After the massacre of Igor Svyatoslavovich with the Polovtsians" (1880).

Church theme

On the eve of the twentieth century, Vasnetsov the artist, whose “Bogatyrs”, written in 1998, became his business card, refers to religious theme. He paints paintings for the Vladimir Cathedral in Kyiv and the Church of the Ascension in St. Petersburg, known as the Cathedral of the Savior on Spilled Blood on the Griboyedov Canal. Later, the artist took part in painting the interior of the Alexander Nevsky Temple, which is located in the capital of Bulgaria, Sofia. And for the Moscow Church of the Nativity on Presnya, Vasnetsov created sketches of ceiling and wall paintings.

Artist's civic projects

Vasnetsov the artist completely switched to Russian in 1917 folk epic, his fairy tale paintings “The Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych”, written in 1918, and “Koshchey the Immortal” of 1926 became latest works great artist.

In addition to brilliant paintings, Vasnetsov created a number of architectural and historical projects:

• In the Abramtsevo estate, the Church of the Savior Not Made by Hands was built according to the sketches of Vasnetsov together with the artist V.D. Polenov and architect P.M. Samarin (1882)
• In Abramtsevo, the “Hut on Chicken Legs” was built, a garden gazebo fairy tale motifs(1883)
• Project tombstone Yuri Nikolaevich Govorukha-Otrok, Russian writer, in the necropolis of the Moscow Monastery of the Sorrowful (1896).
• Russian pavilion for the 1898 Paris World Exhibition.
• Project of the mansion by I.E. Tsvetkov, together with the architect B.N. Schnaubert, in Moscow on Prechistenskaya embankment.
• Design project for the main entrance of the Tretyakov Gallery, with the participation of architect V.N. Bashkirov in Moscow, Lavrushinsky Lane (1901).
• Project of a transition tower from the Armory Chamber to the Grand Kremlin Palace in Moscow (1901).
• A memorial cross marking the place of death of Grand Duke Sergei Alexandrovich in Moscow (1908), which was destroyed and subsequently restored by sculptor N.V. Orlov, and then transferred to the Novospassky Monastery.
• Tombstone V.A. Greenmouth right-wing public figure, in Moscow, in the necropolis of the Sorrow Monastery (1908).
• Cathedral of St. Alexander Nevsky in Moscow, together with the architect A.N. Pomerantsev (1911).
• Art project postage stamp, created to raise funds to help victims of the war (1914).

Philately

Vasnetsov the artist and his works were at one time widely represented in the philately of the USSR:

• Postage Stamp " Tretyakov Gallery"by artist A.S. Pomansky was issued in 1950. The stamp depicts main facade Tretyakov Gallery, made in 1906 according to sketches by Viktor Vasnetsov.
• A series of postage stamps dedicated to the 25th anniversary of the death of the artist-painter Vasnetsov, author - artist I.I. Dubasov, 1951.
• Postage stamp with the image of V.M. Vasnetsov in a painting by the artist I. Kramskoy", published in 1952 at the Marka ITC under No. 1649.
• Postage stamp "Bogatyrs" (based on a painting by Vasnetsov 1881-1898) ITC "Mark" No. 1650.
• Postage stamp "The Knight at the Crossroads" (1882), issued in 1968, design by artists A. Ryazantsev and G. Komlev, ITC "Marka", No. 3705.
• The 150th anniversary of Vasnetsov's birth was celebrated in Russia by issuing a double postage stamp with a coupon.

For the whole creative life The great artist painted several dozen canvases. 24 were included in the Golden Fund of Russian Art:

• Year 1871 - "Gravedigger".
• Year 1876 - "From apartment to apartment."
• Year 1878 - "The Knight at the Crossroads."
• Year 1879 - "Preference".
• Year 1880 -
• Year 1880 - "Alenushkin Pond".
• Year 1880 - "Flying Carpet".
• Year 1881 - "Alyonushka".
• Year 1881 - "Three Princesses of the Underground Kingdom."
• Year 1887 - "Warriors of the Apocalypse".
• Year 1889 - "Ivan Tsarevich on the Gray Wolf."
• Year 1890 - "Baptism of Rus'".
• Year 1897 - "Gamayun".
• Year 1897 - "Tsar Ivan Vasilyevich the Terrible."
• Year 1898 - "Bogatyrs".
• Year 1899 - "Guslars".
• Year 1899 - "The Snow Maiden".
• Year 1899 - "Oleg's meeting with the magician."
• Year 1904 - "The Last Judgment".
• Year 1914 - "Ilya Muromets".
• Year 1914 - "Duel of Peresvet with Chelubey."
• Year 1918 - "The Frog Princess".
• Year 1918 - “Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych.”
• Year 1926 -