Russian landscape in Russian painting. Landscape painting by Russian artists

Since time immemorial, people have always admired nature. They expressed their love by depicting it in all kinds of mosaics, bas-reliefs and paintings. Many great artists devoted their creativity to painting landscapes. The paintings depicting forests, sea, mountains, rivers, fields are truly mesmerizing. And we need to respect the great masters who so detailed, colorful and emotional conveyed in their works all the beauty and power of the world around us. It is landscape artists and their biographies that will be discussed in this article. Today we will talk about the work of great painters of different times.

Famous landscape painters of the 17th century

In the 17th century there lived many talented people who preferred to depict the beauty of nature. Some of the most famous are Claude Lorrain and Jacob Isaac van Ruisdael. We will begin our story with them.

Claude Lorrain

The French artist is considered the founder of landscape painting during the classical period. His canvases are distinguished by incredible harmony and ideal composition. Distinctive feature K. Lorrain's technique was the ability to flawlessly convey sunlight, its rays, reflection in water, etc.

Despite the fact that the maestro was born in France, he spent most of his life in Italy, where he left when he was only 13 years old. He returned to his homeland only once, and then for two years.

The most famous works K. Lorrain's paintings are “View of the Roman Forum” and “View of the port with the Capitol”. Nowadays they can be seen in the Louvre.

Jacob Isaac van Ruisdael

Jacob van Ruisdael, a representative of realism, was born in Holland. During his travels in the Netherlands and Germany, the artist painted many remarkable works, which are characterized by sharp contrasts of tones, dramatic colors and coldness. One of the striking examples of such paintings can be considered “European Cemetery”.

However, the artist’s creativity was not limited to gloomy canvases - he also depicted rural landscapes. The most famous works are considered to be “View of the Village of Egmond” and “Landscape with a Watermill”.

XVIII century

For painting XVIII centuries are characteristically many interesting features, during this period the beginning of new directions in the mentioned art form was laid. Venetian landscape painters, for example, worked in such directions as landscape landscape (another name is leading) and architectural (or urban). And the leading landscape, in turn, was divided into accurate and fantastic. A prominent representative of the fantastic vedata is Francesco Guardi. Even modern landscape artists can envy his imagination and technique.

Francesco Guardi

Without exception, all of his works are distinguished by impeccably accurate perspective and wonderful rendition of colors. Landscapes have a certain magical appeal; it is simply impossible to take your eyes off them.

His most delightful works can be called canvases " Holiday ship Doge "Bucintoro", "Gondola in the Lagoon", "Venetian Courtyard" and "Rio dei Mendicanti". All his paintings depict views of Venice.

William Turner

This artist is a representative of romanticism.

A distinctive feature of his paintings is the use of many shades of yellow. It was the yellow palette that became the main one in his works. The master explained this by the fact that he associated such shades with the sun and the purity that he wanted to see in his paintings.

Turner's most beautiful and mesmerizing work is the "Garden of the Hesperides" - a fantastic landscape.

Ivan Aivazovsky and Ivan Shishkin

These two people are truly the greatest and most famous artists-landscape painters of Russia. The first - Ivan Konstantinovich Aivazovsky - depicted the majestic sea in his paintings. A riot of elements, rising waves, splashes of foam crashing against the side of a tilting ship, or a quiet, serene surface illuminated by the setting sun - seascapes delight and amaze with their naturalness and beauty. By the way, such landscape painters are called marine painters. The second, Ivan Ivanovich Shishkin, loved to depict the forest.

Both Shishkin and Aivazovsky were landscape artists of the 19th century. Let us dwell on the biography of these individuals in more detail.

In 1817, one of the most famous marine painters in the world, Ivan Aivazovsky, was born.

He was born into a wealthy family, his father was an Armenian businessman. It is not surprising that the future maestro had a weakness for sea ​​elements. After all, the birthplace of this artist was Feodosia, a beautiful port city.

In 1839, Ivan graduated from where he studied for six years. To the artist's style big influence influenced by the work of the French marine painters C. Vernet and C. Lorrain, who painted their canvases according to the canons of Baroque-classicism. Most famous work The painting “The Ninth Wave”, completed in 1850, is considered to be by I.K. Aivazovsky.

Except seascapes, the great artist worked on depicting battle scenes (a striking example is the painting “The Battle of Chesme”, 1848), and also devoted many of his canvases to themes of Armenian history (“J. G. Byron’s visit to the Mekhitarist monastery near Venice”, 1880) .

Aivazovsky was lucky to achieve incredible fame during his lifetime. Many landscape painters who became famous in the future admired his work and took their cue from him. The great creator passed away in 1990.

Shishkin Ivan Ivanovich was born in January 1832 in the city of Elabug. The family in which Vanya was brought up was not very wealthy (his father was a poor merchant). In 1852, Shishkin began his studies at the Moscow School of Painting, Sculpture and Architecture, from which he would graduate four years later, in 1856. Even Ivan Ivanovich’s earliest works are distinguished by their extraordinary beauty and unsurpassed technique. Therefore, it is not surprising that in 1865 I. I. Shishkin was given the title of academician for the canvas “View in the vicinity of Dusseldorf”. And after eight years he received the title of professor.

Like many others, he painted from life, spending a long time in nature, in places where no one could disturb him.

The most famous paintings of the great painter are “ Backwoods" and "Morning in pine forest", written in 1872, and an earlier painting "Noon. In the vicinity of Moscow" (1869)

Life talented person interrupted in the spring of 1898.

Many Russian landscape artists use a large number of details and colorful color rendering when painting their canvases. The same can be said about these two representatives of Russian painting.

Alexey Savrasov

Alexey Kondratievich Savrasov is a world-famous landscape artist. It is he who is considered the founder of Russian lyrical landscape.

This one was born outstanding man in Moscow in 1830. In 1844, Alexey began his studies at the Moscow School of Painting and Sculpture. Already from his youth, he was distinguished by his special talent and ability to depict landscapes. However, despite this, due to family circumstances the young man was forced to interrupt his studies and resume it only four years later.

Savrasov’s most famous and beloved work is, of course, the painting “The Rooks Have Arrived.” It was presented at Traveling exhibition in 1971. No less interesting are the paintings by I. K. Savrasov “Rye”, “Thaw”, “Winter”, “Country Road”, “Rainbow”, “ Losiny Island" However, according to critics, none of the artist’s works compared with his masterpiece “The Rooks Have Arrived.”

Despite the fact that Savrasov painted many beautiful canvases and was already known as the author of wonderful paintings, he is soon forgotten for a long time. And in 1897 he died in poverty, driven to despair by family troubles, the death of children and alcohol addiction.

But great landscape painters cannot be forgotten. They live in their paintings, the beauty of which is breathtaking, and which we can still admire to this day.

Second half of the 19th century

This period is characterized by the prevalence in Russian painting of such a direction as everyday landscape. Many Russian landscape artists worked in this vein, including Vladimir Egorovich Makovsky. No less famous masters of those times are Arseny Meshchersky, as well as the previously described Aivazovsky and Shishkin, whose work occurred in the mid-second half of the 19th century.

Arseny Meshchersky

This famous artist was born in 1834 in the Tver province. He received his education at Imperial Academy arts, where he studied for three years. The main themes of the author’s paintings were forests and the Artist loved to depict in his paintings the magnificent views of the Crimea and the Caucasus with their majestic mountains. In 1876 he received the title of professor of landscape painting.

His most successful and famous paintings can be considered the paintings “Winter. Icebreaker", "View of Geneva", "Storm in the Alps", "At the Forest Lake", "Southern Landscape", "View in Crimea".

In addition, Meshchersky also conveyed the beauty of Switzerland. In this country, he gained experience for some time from the master of landscape painting Kalam.

The master was also fond of sepia and engraving. He also created many wonderful works using these techniques.

Many paintings by the artist in question were shown at exhibitions both in Russia and in other countries of the world. Therefore, many people managed to appreciate the talent and originality of this creative person. The paintings of Arseny Meshchersky continue to delight many people who are interested in art to this day.

Makovsky Vladimir Egorovich

Makovsky V. E. was born in Moscow in 1846. His father was a famous artist. Vladimir decided to follow in his father's footsteps and received art education at the Moscow School of Painting, Sculpture and Architecture, after which he left for St. Petersburg.

His most successful paintings were “Waiting. At the Jail”, “Bank Collapse”, “Explanation”, “The Lodging House” and “Spring Bacchanalia”. The works mainly depict ordinary people and everyday scenes.

Except everyday landscapes, of which he was a master, Makovsky also painted portraits and various illustrations.

The first picturesque landscapes appeared in Russia in the second half of the 18th century - after the Imperial Academy of Arts was opened in St. Petersburg in 1757, modeled on European academies, where, among other genre classes, there was a class of landscape painting. There is also a demand for “taking views” of memorable and architectural significant places. Classicism - and this is the time of its dominance - tunes the eye to perceive only what evokes high associations: majestic buildings, mighty trees, panoramas reminiscent of ancient heroics. Both nature and urban vedata The veduta genre (from the Italian veduta - view) was the image of a city from a particularly advantageous vantage point. must be presented in an ideal guise - as they should be.

View of Gatchina Palace from Long Island. Painting by Semyon Shchedrin. 1796

Mill and tower Pil in Pavlovsk. Painting by Semyon Shchedrin. 1792Samara Regional Art Museum

Red Square in Moscow. Painting by Fyodor Alekseev. 1801State Tretyakov Gallery

View of the Exchange and Admiralty from Peter and Paul Fortress. Painting by Fyodor Alekseev. 1810State Tretyakov Gallery

Landscapes are painted from life, but are certainly finalized in the studio: the space is divided into three distinct plans, the perspective is enlivened by human figures - the so-called staffage - and the compositional order is reinforced by conventional color. Thus, Semyon Shchedrin depicts Gatchina and Pavlovsk, and Fyodor Alekseev depicts Moscow squares and St. Petersburg embankments; By the way, both completed their art education in Italy.

2. Why do Russian artists paint Italian landscapes?

The next stage in the development of Russian landscape - the romantic one - will be associated with Italy to an even greater extent. Going there as pensioners, that is, for an internship after successfully graduating from the Academy, artists of the first half of the 19th century, as a rule, were in no hurry to return. Myself southern climate It seems to them a sign of freedom absent in their homeland, and attention to the climate is also a desire to depict it: the concrete light and air of a warm, free land, where summer always lasts. This opens up the possibility of mastering plein air painting - the ability to build a color scheme depending on real lighting and atmosphere. The old, classic landscape required heroic scenery and focused on the significant, the eternal. Now nature becomes the environment in which people live. Of course, a romantic landscape (like any other) also presupposes selection - only what seems beautiful gets into the frame: only this is another beautiful thing. Landscapes that exist independently of man, but are favorable to him - this idea of ​​\u200b\u200bthe “correct” nature coincides with Italian reality.

Moonlit night in Naples. Painting by Sylvester Shchedrin. 1828State Tretyakov Gallery

Grotto Matromanio on the island of Capri. Painting by Sylvester Shchedrin. 1827State Tretyakov Gallery

Waterfalls in Tivoli. Painting by Sylvester Shchedrin. Early 1820sState Tretyakov Gallery

Veranda entwined with grapes. Painting by Sylvester Shchedrin. 1828State Tretyakov Gallery

Sylvester Shchedrin lived in Italy for 12 years and during this time managed to create a kind of thematic dictionary of romantic landscape motifs: a moonlit night, the sea and a grotto from where the sea opens up to the eye, waterfalls and terraces. Its nature combines the global and the intimate, space and the opportunity to hide from it in the shade of a grape pergola. These pergolas or terraces are like interior enclosures in infinity, where Lazzaroni vagabonds indulge in blissful idleness with a view of the Bay of Naples. They seem to be part of the landscape itself - free children of wild nature. Shchedrin, as expected, finalized his paintings in the studio, but his painting style demonstrates romantic emotion: an open brushstroke sculpts the shapes and textures of things, as if at the pace of their instant comprehension and emotional response.

The Appearance of the Messiah (The Appearance of Christ to the People). Painting by Alexander Ivanov. 1837–1857State Tretyakov Gallery

The appearance of Christ to the people. Initial sketch. 1834

The appearance of Christ to the people. Sketch written after a trip to Venice. 1839State Tretyakov Gallery

The appearance of Christ to the people. "Stroganov" sketch. 1830sState Tretyakov Gallery

But Alexander Ivanov, Shchedrin’s younger contemporary, discovers a different nature - not related to human feelings. For more than 20 years he worked on the painting “The Appearance of the Messiah,” and the landscapes, like everything else, were created in indirect connection with it: in fact, they were often thought of by the author as sketches, but were executed with artistic care. On the one hand, these are deserted panoramas of the Italian plains and swamps (a world not yet humanized by Christianity), on the other - close-ups elements of nature: one branch, stones in a stream and even just dry earth, also given in a panoramic manner, an endless horizontal frieze For example, in the painting “Soil near the gates of the Church of St. Paul in Albano,” painted in the 1840s.. Attention to detail is fraught with attention to plein air effects: to the way the sky is reflected in the water, and the lumpy soil catches reflexes from the sun - but all this precision turns into something fundamental, an image of eternal nature in its fundamentals. It is assumed that Ivanov used a camera-lucida - a device that helps to fragment the visible. Shchedrin probably also used it, but with a different result.

3. How the first Russian landscape appeared

For the time being, nature is beautiful and therefore alien: its own is denied beauty. “Russian Italians” are not inspired by cold Russia: its climate is associated with lack of freedom, with the numbness of life. But in other circles such associations do not arise. Nikifor Krylov, a student of Alexei Gavrilovich Venetsianov, who had not traveled outside the country and was far from a romantic worldview, probably did not know Karl Bryullov’s words about the impossibility of writing snow and winter (“spilled milk will all come out”). And in 1827 he created the first national landscape - just a winter one.

At the school he opened in the village of Safonko-vo Now Venetsianovo., Venetsianov taught “not to depict anything differently than it appears in nature, and to obey it alone” (at the Academy, on the contrary, they taught to focus on models, on the tested and ideal). From the high bank of Tosny, nature opened up panoramicly - in a wide perspective. The panorama is rhythmically lived-in, and the figures of people are not lost in the space, they are natural to it. Much later, it is precisely these types of “happy people” - a man leading a horse, a peasant woman with a yoke - that will acquire a somewhat souvenir accent in painting, but for now this is their first appearance and they are drawn with the care of near vision. The even light of snow and sky, blue shadows and transparent trees present the world as an idyll, as a center of peace and correct order. This world perception will be embodied even more acutely in the landscapes of another student of Venetsianov, Grigory Soroka.

A serf artist (Venetsianov, who was friends with his “owner,” was never able to obtain freedom for his beloved student) Soroka is the most talented representative of the so-called Russian Biedermeier (this is how the art of the pupils of Venetsianov’s school is called). All his life he painted the interiors and surroundings of the estate, and after the reform of 1861 he became a peasant activist, for which he was subjected to a brief arrest and, possibly, corporal punishment, and after that he hanged himself. Other details of his biography are unknown; few works have survived.

His “Fishermen” seems to be the most “quiet” painting in the entire corpus of Russian painting. And the most “balanced”. Everything is reflected in everything and rhymes with everything: the lake, the sky, buildings and trees, shadows and highlights, people in homespun white clothes. An oar lowered into the water does not cause a splash or even a ripple on the water surface. Pearl shades in canvas whiteness and dark greenery they transform color into light - perhaps early evening, but more transcendental, heavenly: into a diffuse calm radiance. It seems that catching fish implies action, but there is none: motionless figures do not bring into space genre element. And these figures themselves in peasant portages and shirts look not like peasants, but like characters epic tale or songs. A specific landscape with a lake in the village of Spasskoye turns into perfect image nature, silent and slightly dreamlike.

4. How the Russian landscape captures Russian life

The paintings of the Venetsians occupied a modest place in the general field of Russian art and did not enter the mainstream. Until the early 1870s, the landscape developed along the lines romantic tradition, increasing effects and splendor; it was dominated by Italian monuments and ruins, views of the sea at sunset and moonlit nights(such landscapes can be found, for example, in Aivazovsky, and later in Kuindzhi). And at the turn of the 1860-70s there was a sharp change. Firstly, it is associated with the appearance of Russian nature on the stage, and secondly, with the fact that this nature is declaratively devoid of all signs of romantic beauty. In 1871, Fyodor Vasiliev wrote “The Thaw,” which Pavel Mikhailovich Tretyakov immediately acquired for the collection; in the same year, Alexei Savrasov showed his subsequently famous “Rooks” at the first traveling exhibition (at that time the painting was called “Here the Rooks Have Arrived”).

In both “The Thaw” and “The Rooks” the season is not defined: it is no longer winter, not yet spring. The critic Stasov admired how Savrasov “heard winter,” while other viewers “heard” spring. The transitional, fluctuating state of nature made it possible to saturate painting with subtle atmospheric reflexes and make it dynamic. But otherwise, these landscapes are about different things.

In Vasiliev, thaw is conceptualized - projected onto modern social life: the same timelessness, sad and hopeless. All Russian literature, from the revolutionary-democratic writings of Vasily Sleptsov to the anti-nihilistic novels of Nikolai Leskov (the title of one of these novels - “Nowhere” - could become the title of a painting), recorded the impossibility of the path - the impasse in which A man and a boy find themselves lost in the landscape. And is it in the landscape? The space is devoid of landscape coordinates, except for the miserable snow-covered huts, woody rubbish stuck in the slush, and lopsided trees on the horizon. It is panoramic, but crushed by the gray sky, not worthy of light and color - a space in which there is no order. Savrasov has something else. He also seems to emphasize the prosaic nature of the motif: the church, which could have become the object of a “video painting,” has given way to crooked birch trees, thick snow and puddles of melt water. “Russian” means “poor,” unsightly: “meager nature,” as in Tyutchev. But the same Tyutchev, glorifying “the native land of long-suffering singing,” wrote: “He will not understand and will not notice / The proud gaze of a foreigner, / Which shines through and secretly shines / In your humble nakedness,” - and in “Rooks” this secret light There is. The sky occupies half of the canvas, and from here a completely romantic “heavenly ray” comes to the ground, illuminating the wall of the temple, the fence, the water of the pond - it marks the first steps of spring and gives the landscape its emotional and lyrical coloring. However, Vasiliev’s thaw also promises spring, and this shade of meaning can also be seen here if desired - or read here.

5. How the Russian landscape school developed

Country road. Painting by Alexey Savrasov. 1873State Tretyakov Gallery

Evening. Migration of birds. Painting by Alexey Savrasov. 1874Odessa Art Museum

Savrasov is one of the best Russian colorists and one of the most “multilingual”: he could equally paint road dirt (“Country Road”) in intense and festive colors or build the finest minimalist harmony in a landscape consisting only of earth and sky (“ Evening. Migration of birds"). A teacher at the Moscow School of Painting, Sculpture and Architecture, he influenced many; his virtuosic and open pictorial style will continue with Polenov and Levitan, and his motifs will echo with Serov, Korovin and even Shishkin (big oaks). But it is Shishkin who embodies a different ideology of the Russian landscape. This is an idea of ​​heroism (of a slightly epic kind), of the solemn greatness, strength and glory of the “national” and “folk”. A kind of patriotic pathos: mighty pines, the same at any time of the year (plein air variability was decidedly alien to Shishkin, and he preferred to paint coniferous trees), are collected in a forest set, and herbs, prescribed with the utmost care, also form a set of similar herbs that do not represent botanical diversity. It is characteristic that, for example, in the painting “Rye,” the trees in the background, decreasing in size according to linear perspective, do not lose the distinctness of their contours, which would be inevitable when taking into account aerial perspective, but the inviolability of forms is important to the artist. It is not surprising that his first attempt to depict a light-air environment in the film “Morning in pine forest"(written in collaboration with Konstantin Savitsky - the bears of his brush) caused a newspaper epigram: "Ivan Ivanovich, is that you? What a fog they have let in, my dear.”

Rye. Painting by Ivan Shishkin. 1878State Tretyakov Gallery

Morning in a pine forest. Painting by Ivan Shishkin and Konstantin Savitsky. 1889State Tretyakov Gallery

Shishkin had no followers, and in general the Russian landscape school developed, relatively speaking, along Savrasov’s line. That is, having an interest in atmospheric dynamics and cultivating sketchy freshness and an open manner of writing. This was also superimposed by a passion for impressionism, almost universal in the 1890s, and in general a thirst for liberation - at least liberation of color and brushwork technique. For example, in Polenov - and not only in him - there is almost no difference between a sketch and a painting. Students of Savrasov, and then of Levitan, who replaced Savrasov in leadership landscape class Moscow school, in an impressionistic way, reacted sharply to momentary states of nature, to random light and sudden changes in weather - and this sharpness and speed of reaction were expressed in the exposure of techniques, in the way through the motive and on top of the motive they became the process of creating a picture and the will of the artist who chooses certain means of expression are clear. The landscape ceased to be completely objective, the personality of the author laid claim to asserting his independent position - for now in balance with the given species. It was up to Levitan to fully define this position.

6. How did the landscape century end?

Isaac Levitan is considered the creator of the “mood landscape,” that is, an artist who largely projects his own feelings onto nature. And indeed, in Levitan’s works this degree is high and the range of emotions is played across the entire keyboard, from quiet sadness to triumphant glee.

Closing the history of the Russian landscape of the 19th century, Levitan seems to synthesize all its movements, revealing them in the end with all clarity. In his paintings one can find masterfully written quick sketches and epic panoramas. He was equally proficient in both the impressionist technique of sculpting volume with individual colored strokes (sometimes exceeding the impressionist “norm” in the detail of the textures) and the post-impressionist method of impasto colorful masonry wide layers. He knew how to see intimate angles, intimate nature - but he also discovered a love for open spaces (perhaps this was how he compensated for the memory of the Pale of Settlement - the humiliating possibility of being evicted from Moscow like a sword of Damocles hung over the artist even at the time of fame, twice forcing him to hastily corporal flight from the city).

Evening call, evening Bell. Painting by Isaac Levitan. 1892State Tretyakov Gallery

“Distant views” could be associated with a patriotically colored feeling of freedom (“ Fresh breeze. Volga"), and to express mournful melancholy - as in the painting "Vladimirka", where the dramatic memory of the place (along this convict road the convoys were led to Siberia) is read without additional surroundings in the very image of the road, loosened by rains or processions, under the gloomy sky. And, finally, a kind of discovery of Levitan - landscape elegies of a philosophical nature, where nature becomes a reason for thinking about the circle of existence and the search for unattainable harmony: “ Quiet abode", "Above Eternal Peace", "Evening Bells".

Probably his last painting, “Lake. Rus'” could belong to this series. It was conceived as complete image Russian nature Levitan wanted to call it “Rus”, but settled on a more neutral option; the double name stuck later., however, remained unfinished. Perhaps this is partly why it combines contradictory positions: Russian landscape in its eternal existence and impressionistic technique, attentive to “fleeting things”.

We cannot know whether this romantic intensity of color and brushwork would have remained in the final version. But this intermediate state reveals a synthesis in one picture. An epic panorama, an eternal and unshakable natural reality, but inside it everything moves - clouds, wind, ripples, shadows and reflections. Broad strokes capture what has not become, but what is becoming, changing - as if trying to keep up. On the one hand, the fullness of summer blossom, the solemn major trumpet, on the other, the intensity of life, ready for change. Summer 1900; comes new Age, in which landscape painting - and not only landscape painting - will look completely different.

Sources

• Bogemskaya K. History of genres. Scenery.
• Fedorov-Davydov A. A. Russian landscape of the 18th - early 20th centuries.

Lesson topic: “Landscape in Russian painting.”

Target: To expand students’ knowledge about landscape as a genre in art that involves a harmonious combination of the artist’s feelings and their expression in creative activity For example

Tasks:

educational:

– continue to get acquainted with landscape as a genre visual arts, using the example of the work of I. I. Levitan;

– be able to conduct simple content analysis works of art, mark expressive means of image;

educational:

– be able to see beauty the surrounding world,

– respect work and talent great artist,

– cultivate pride in one’s Fatherland;

developing:

– develop observation, visual memory, attention to detail.

Equipment: computer, interactive board, presentation “Creativity of I.I. Levitan", album, gouache, brushes.

Material: L.A. Nemenskaya. Fine arts “Art in human life”, 6th grade, Moscow “Enlightenment”, 2014.

Preparing for the lesson. Before the lesson, children are given individual assignments: find information about the life and work of I. I. Levitan, create a presentation.

Lesson plan:

I. Organizing time- 2 minutes.

II. Reflection on the material from the last lesson – 3 min.

III. Introduction to the topic:

Messages accompanied by presentations by the teacher and students on the topic of the lesson - 15 min.

IV. Practical work - 20 min.

V. Summing up - 3 min.

VI. Homework- 2 minutes.

"There is no need to decorate nature,

but you need to feel its essence

and free from accidents."

( Levitan I.I. )

Teacher - Today in class we will continue to get acquainted with one of the genres of fine art - landscape, landscape in Russian paintingFor examplecreativity of the artist I.I. Levitan.

Man began to depict nature back in ancient times. But almost always these images served only as a background for a portrait or some kind of scene.
And only in the 17th century did they appearlandscapes – paintings in which nature has become their main content.Created this genre Dutch painters. They usually painted landscapes on small canvases, and later they began to be called “little Dutchmen”.

Landscape painting is very diverse. There are landscapes that accurately convey certain corners of nature, and there are also those that were created by the artist’s imagination. There are landscapes in which artists were able to very subtly convey the state of nature.

So what is “landscape”?

(Student message)

Landscape (French paysage, from pays - country, area), a real view of any area; in the visual arts - genre or separate work, in which the main subject of the image is natural or, to one degree or another, nature transformed by man;

Teacher - What types of landscapes do you know?

(Student message)

Urban, rural, forest, lyrical, architectural, marina, industrial.

Teacher - Landscape is not a mechanical reproduction surrounding a person environment, this artistic image nature or city, i.e. an aesthetically meaningful, poeticized image, as if passed through the artist’s personal perception.

In the high heyday of Russian painting of the 19th century, the landscape belongs to outstanding role. Images of nature created by Russian artists have enriched Russian and world culture.

In the work of landscape artists, what is interesting is not the fact of a realistic depiction of nature, but rather the reflection of a subjective, individual view of it. Yours emotional condition people often associate with the state of nature. Landscapes are able to express people’s feelings, as in them artists creatively reproduce views of nature. It appears to them colored by emotions, for example, “joyful” or “gloomy,” although these states are not at all inherent in nature.

The development of the Russian landscape in the 19th century was fueled by the growing, increasingly conscious love of the Russian people for their native land.

Landscape has won its place as one of the leading genres of painting. His language has become, like poetry, a way of expressing the artist’s high feelings, a field of art in which deep and serious truths about the life and destinies of mankind are expressed, in which a contemporary speaks and recognizes himself. Looking at the works of landscape painting, listening to what the artist is talking about, depicting nature, we learn knowledge of life, understanding and love for the world and man.

It is unlikely that anyone in our country has not heard the name of the artist

Isaac Ilyich Levitan, a brilliant master of landscape. For long hours the artist wandered through the forests of the Moscow region, the Volga region, and the Tver province, and then on his canvases appeared copses, thin birch trees standing in melted spring water, a bridge over the river, ravines on the slopes of which the snow had not yet melted.
Levitan's landscapes, sometimes sad, sometimes joyful, sometimes alarming, tell us not only about the beauty of nature, but also about the feelings and moods of the artist. Levitan so truthfully and so vividly conveyed the nature of the Central Russian zone that now they often say, looking at a young forest or a flowering field: “It’s just like in Levitan’s painting.”

I.I. Levitan is a subtle, lyrical artist by nature of his talent. Like many masters of the lyrical movement, in landscape Levitan prefers not midday, but morning and evening, not summer and winter, but spring and autumn, that is, those moments that are richer in changes and shades of moods, not oaks, pines and spruces, but more Birch, aspen and especially water surfaces are “responsive” to natural changes.

The first works of I. I. Levitan are like the first timid melodies, which then merge into complex musical creations.

A modest autumn landscape: a park alley stretching into the distance, on both sides tall old pines and young maples, covering the ground with autumn leaves.

The wind drives wisps of clouds across the autumn sky, sways the tops of pine trees, sweeps leaves from maples and wraps around the figure of a woman walking along the alley. The picture feels harmony and musicality. Can be caught musical rhythm, it was somewhat reminiscent of an autumn song without words.

Feeling created by a painting, can be defined in one word - holiday. The light side of the house, reflecting sunlight, orange pillars of the porch, deep brown shadows on the door, blue shadows on the snow, light purple reflections on the crowns of young trees, the bright blue depth of the sky - such is the jubilant, full of life coloring of the picture.

There is in the initial autumn

A short but wonderful time!

The whole forest stands as if it were crystal,

And the evenings are radiant...

F.I.Tyutchev

WITH
From the very beginning, the Volga became the running motif of Levitan’s work. It is infinite not only in physical sense, but also figuratively – as Genesis. In Levitan, the Volga, like once the mother goddess, exists in different guises. She is both a symbol of vigorous life activity and a golden mirage of dreams of existential harmony and a womb of eternal peace that accepts everyone.

I. Levitan depicts the Volga landscape with wide open spaces in the background and a small town. The light palette with a predominance of silver-gray tones makes you feel the picturesque, lyrical richness of the landscape.

Z
the trees of the nearby shore, the visible church, houses - this is the real, everyday environment where a person’s life passes; here the colors are cooler and the silhouettes are clearer. In the background is a distant shore shrouded in haze, a golden river, as if a golden sky has been thrown into the water, like a dream, like a different, magical world, conducive to thought and inspiring hope.

ABOUT Feeling the harmony of being in nature, “divine grace,” Levitan seems to be sad about what man is deprived of in reality. In the picture it is evening, the end of a day that has already been lived, and a peculiar ringing sound characteristic of the evening service. The end of a day of life and the sunset cannot but evoke some sadness.

Levitan raised the landscape genre to a deep symbolic and philosophical picture with reflections on human life, on eternity...

This is a picture of the human soul in the images of nature

Practical work:

Today you will try to depict the natural world in painting.

Show your imagination and creativity. Reflect your feelings and images native nature. For work we will need: brushes and gouache.

Summarizing.

Teacher - Today in class you learned about the work of the great artist I.I. Levitan, tried to work in painting themselves.

Students' work is evaluated and displayed in a rotating exhibition.

Reflection. Compiling a syncwine on the topic “Creativity of I.I. Levitan."

Execution example:

Artist

Talented and touching

Searched, created

Created wonderful works

The pride of Russia.

Students selectively read out the five verses they receive.

Homework: choose one of the landscape works of Russian artists of the 19th century and analyze it.

Literature:

Nemensky, B. M. Fine arts. Volgograd: Teacher, 2008.

Powell W. F. Lessons in drawing and painting. Let's look at the color scheme. M. AST – Astrel, 2006.

Art. 5-7 grades. Teaching the basics of visual literacy: lesson notes / author's compilation. O. V. Pavlova. - Volgograd: Teacher, 2009.-132 p.: ill.

Landscape artists. Encyclopedia of painting for children. White City, Moscow, 2008

Masterpieces of Russian painting. Encyclopedia of world art. White City, Moscow, 2006

Application.

After the rain. Plyos

Scenery occupies a special place in the fine arts of Russia. The name appeared thanks to French word pays – locality. Oil landscapes are images of nature in its natural or slightly modified state.

For the first time, landscape motifs appeared in ancient Russian icon painting. Independent nature landscapes representing views palace parks, begin to appear in Russia in the 18th century. During the reign of Elizaveta Petrovna, the art of painting was actively developing, the first collection of engravings with views of St. Petersburg, which also included landscape images, was published.

The heyday of landscape begins with the appearance of Semyon Fedorovich Shchedrin, who is rightly called the founder of Russian landscape painting. The artist’s biography includes several years of study abroad, where Shchedrin studied the fundamentals of classicism, which were later reflected in his work.

Subsequently, other Russian landscape artists appeared: Fyodor Alekseev - the founder of the urban landscape, Fyodor Matveev - a master of landscapes in best traditions classicism.

The genres of fine art in the second half of the 19th century were enriched with new directions. Landscape paintings created in different directions, were represented by famous artists: Ivan Aivazovsky (romanticism), Ivan Shishkin (realism), Viktor Vasnetsov (fairy-tale-epic direction), Mikhail Klodt (epic landscapes) and others recognized masters painting.

TO mid-19th century century, Russian painting “affirms” the plein air, as artistic technique allowing you to create beautiful landscapes. In its subsequent formation, a significant role was played by the development of impressionism, which significantly influenced the work of landscape artists. At the same time, a separate idea of ​​“natural” perception was formed - the lyrical landscape. Landscapes by artists such as Alexei Savrasov, Arkhip Kuindzhi, and Mikhail Nesterov were created in this direction.

Landscape oil painting of the 19th century reached its true flowering in the works of Isaac Levitan. The artist’s paintings are filled with a calm, piercing, poignant mood. The artist’s exhibition has always been a significant event in the art world, attracting a lot of visitors in all cities of Russia.

By the beginning of the 20th century, the “Union of Russian Artists” was formed, founded on the initiative of Konstantin Yuon, Abram Arkhipov and Igor Grabar. The main directions of creativity and many of the artists’ paintings are characterized by a love for the Russian landscape, both natural and urban.

Other types of fine art are also developing - active searches are underway for alternative expressive means for landscape painting. Prominent representatives new movements are: Kazimir Malevich (avant-garde, autumn landscape “Red Cavalry Galloping”), Nikolai Krymov (symbolism, winter landscape “Winter Evening”), Nikolai Dormidontov (neo-academicism).

In the 30s, fine art in the USSR was enriched with landscape painting. socialist realism. One of its main representatives is George of Nyssa and the work “Boys Running Out of the Water.” The onset of the “thaw” in the second half of the 1950s led to the restoration of the diversity of the “pictorial” language, which has been preserved in modern schools.

We are glad to welcome you to the blog about contemporary art. Today I want to talk about painting, so this post is entirely dedicated to landscapes by Russian artists. In it you will find the most full information about the work of Alexander Afonin, Alexey Savchenko and Viktor Bykov. All of them are not just talented, but divinely gifted individuals. Their creativity is multifaceted, original and skillful. They attract the attention of not only citizens of the Russian land, but also representatives and collectors from far abroad countries. Writing about them briefly is quite a difficult task, but we will try to summarize the information in order to present to your eyes only the most interesting and important things from the lives of artists and their work. Well, let's move on to the landscapes of Russian artists?

Landscapes of the true Russian artist Alexander Afonin

The period from 1982 to 1986 became a turning point for the artist. later life. In addition to the fact that during this time period Afonin received his education at the Zheleznogorsk Art School, it was then that he learned professionalism. Today Alexander considers this school one of the best in Russia.

Nature landscapes of different seasons from Alexey Savchenko

Landscapes by Russian artist Alexey Savchenko They take it not by color, but by some capricious northern mood. , maximum color realism - perhaps this is what is very clearly visible in the author’s paintings.

“Forest as if alive” by Russian artist Viktor Bykov

To complete the post, watch a wonderful video about classical landscapes Russian artists: