Viktor Vasnetsov story about him. Vasnetsov Viktor Mikhailovich. Talented and Shy

Viktor Vasnetsov is a famous Russian artist, whose work has left a deep mark on the culture of Russia. The great painter's brushes include paintings and church canvases. The artist did church painting to order for Russian churches. Versatile, very talented person was Vasnetsov Viktor Mikhailovich: short biography may serve to confirm this conclusion.

Biography of the painter

Viktor Mikhailovich Vasnetsov (1848-1926) was born into a poor family of a priest in the village of Lopyal, Vyatka province, on May 15, 1848. In addition to him, his parents had five children. The boy's father paid maximum attention to raising his children. He tried to develop their horizons, and not just instill religious dogmas. Mikhail Vasilyevich subscribed to scientific journals, but the places where Vasnetsov lived were replete with legends, epics, and beliefs. The boy's thoughts were spinning around fairy tale characters. Heroes of fairy tales and colorful landscapes of wild lands can be seen on the artist’s canvases.

Little Victor showed an ability to draw from childhood. But lack of money did not allow his father to send his son to study artistic arts. The boy had to enter a religious school (1958), where education for the son of a priest was free.

After college, the boy entered the seminary, but did not graduate from the educational institution, as he began his studies at the St. Petersburg art school(1867). At the same time, the young man passed the exam at the Academy of Arts, but due to excessive modesty he did not come to check the result (Vasnetsov learned about his enrollment a year later).

After graduating from the academy, the artist participated in many exhibitions and painted temples. He became a member of the Association of Mobile art exhibitions Moscow, when I came to live in this city. Currently, you can visit the house-museum of Viktor Vasnetsov in Moscow, designed by the painter himself. Vasnetsov built it in neo-Russian style. The artist moved here in 1894 and lived with his family until his death.

The building now belongs to museum complex Tretyakov Gallery and is a museum with a permanent exhibition dedicated to the life and work of the famous Russian painter. Here you will see a portrait of Viktor Mikhailovich Vasnetsov and a number of paintings by the great artist. Except permanent exhibition, other exhibitions covering Vasnetsov’s activities are regularly held here.

A talented painter painted until he died (July 23, 1926). He left unfinished the portrait of Nesterov, the artist’s friend and student.

Works of the Russian painter

The work of Viktor Mikhailovich Vasnetsov developed in stages. As a student at the academy, the young man dedicated free time drawing. At that time, the young artist was interested in illustrating Russian folk sayings, proverbs, fairy tales. Noticing the student’s talent, representatives of the clergy asked him to paint the Vyatka Cathedral.

The works, written by the young artist from 1876 to 1879, depict everyday scenes. The canvases of 1880-1898 have an epic-historical orientation. Since 1890, the painter became interested in religious themes. He actively took up painting of temples, but did not forget about easel painting. After 1917, the artist painted illustrations for Russian folk tales.

During his life, Vasnetsov repeatedly took part in painting exhibitions. For the first time he exhibited works as a student at the academy. The demonstration of paintings helped the young man attract the attention of recognized artists and make his name known. After graduation educational institution(1873) the painter exhibited paintings as a member of the Association of Traveling Art Exhibitions. Such exhibitions were held in large villages and many cities. In addition to works by Viktor Mikhailovich, the exhibitions included paintings by other famous artists.

The active activity of the partnership lasted until 1980, then the movement began to fade, and the organization itself ceased to exist after the last exhibition (1922).

Famous paintings

Of some of Vasnetsov's masterpieces, only descriptions remain. But many of the canvases have survived to this day. What has Viktor Vasnetsov pleased with modern art lovers: let’s look at the paintings with titles in order.

Viktor Mikhailovich Vasnetsov left a rich legacy to his descendants. Many of his works were destroyed after the 1917 revolution. But even now we can admire the masterpieces of the great Russian painter of the 19th and 20th centuries.

Landscape backgrounds of V.'s works on fairy tales and historical topics imbued with a deeply national feeling native nature, sometimes remarkable for the lyrical spontaneity of her 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 V. completed the monumental panel "Stone Age" for the Historical Museum in Moscow, in 1885-96 - most paintings of the Vladimir Cathedral in Kyiv. In the paintings of the Vladimir Cathedral, V. tried to introduce spiritual content and emotionality into the traditional church system monumental painting, which in the 2nd half of the 19th century. came into complete decline. V.'s painting in the mature period, distinguished by a desire for a monumental and decorative artistic language, a muted sound of generalized color spots, and sometimes an appeal to symbolism, anticipates the “modern” style that later became widespread in Russia. V. also executed a number of portraits (A. M. Vasnetsov, 1878; Ivan Petrov, 1883; both in Tretyakov Gallery), illustrations for "Songs 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), and the facade of the Tretyakov Gallery was built (1902). IN Soviet time V. 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).
Lit.: Stasov V.V., Viktor Mikhailovich Vasnetsov and his works, in his book: Articles and Notes, vol. 2, M., 1954; Lebedev A.K., V.M. Vasnetsov. 1848-1926, M., 1955; Morgunov N., Morgunova-Rudnitskaya N., V. M. Vasnetsov, M., 1962.

Material from Wikipedia - the free encyclopedia:
Vasnetsov’s works clearly represent different genres, which became stages of a very interesting evolution: from everyday life writing to fairy tales, from easel painting to monumental painting, from the earthiness of the Wanderers to the prototype of the Art Nouveau style. On early stage Vasnetsov’s works were dominated by everyday subjects, for example in the paintings “From Apartment to Apartment” (1876), “Military Telegram” (1878), “Book Shop” (1876), “Booth Shows in Paris” (1877). Later, the main direction became the epic-historical - “The Knight at the Crossroads” (1882), “After the Battle of Igor Svyatoslavich with the Polovtsians” (1880), “Alyonushka” (1881), “Ivan Tsarevich on the Gray Wolf” (1889), “Bogatyrs” "(1881-1898), "Tsar Ivan Vasilyevich the Terrible" (1897). In the late 1890s, a religious theme occupied an increasingly prominent place in his work (works in the Vladimir Cathedral in Kyiv and in the Church of the Resurrection (Church of the Savior on Spilled Blood) in St. Petersburg, watercolor drawings and in general, preparatory originals of wall paintings for the Cathedral of St. Vladimir, paintings of the Church of the Nativity of John the Baptist on Presnya. Vasnetsov worked in a team of artists who designed the interior of the temple-monument of Alexander Nevsky in Sofia. He collaborated with artists M. V. Nesterov, I. G. Blinov and others. After 1917, Vasnetsov continued to work on folk fairy-tale themes, creating the canvases “The Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych” (1918); "Koschei the Immortal" (1917-1926)

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. came out with small genre paintings, carefully painted mainly in grayish-brown color scheme. In scenes of street and home life of small merchants and officials, the urban poor and peasants, Vasnetsov captured 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 future 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 massacre of Igor Svyatoslavich with the Polovtsians” (1880), “Alyonushka” (1881), imbued with sincere poetry, “Ivan Tsarevich on gray wolf"(1889), "Bogatyrs" (1881-98), filled with faith in the heroic forces of the people, "Tsar Ivan Vasilyevich the Terrible" (1897, all in the Tretyakov gal.).

With the general direction of Vasnetsov’s easel painting of the 1880s-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 (in the Moscow private Russian opera of S. I. Mamontov in 1886), performed according to Vasnetsov’s sketches, - an example of the creative interpretation of genuine archaeological and ethnographic material - provided great influence on the development of Russian theatrical and decorative art in the late 19th - early. 20th centuries The landscape backgrounds of Vasnetsov’s works on fairy-tale and historical themes, 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 painted a number of portraits (A. M. Vasnetsov, 1878; Ivan Petrov, 1883; both in the Tretyakov Gallery), illustrations for “Song of the Prophetic Oleg” by A. S. Pushkin (watercolor, 1899, Literary Museum, Moscow) . Based on his drawings, the church and the fairy-tale “Hut on Chicken Legs” were built in Abramtsevo (near Moscow; 1883), and the facade of Tretyakov Gallery was built. (1902). In Soviet times, Vasnetsov continued to work on folk fairy-tale themes ("The Battle 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).

Viktor Mikhailovich Vasnetsov

Today I want to tell you about the Russian artist Viktor Vasnetsov. There was a time when his paintings from the very early childhood

entered the life of a young Russian and this name (like the author’s paintings) was known to anyone who graduated from a simple high school.

The creative path of the artist Viktor Vasnetsov began in the 70s of the nineteenth century. This was the time when such famous peers and contemporaries of Vasnetsov as I.E. Repin, V.I. Surikov, V.D. Polenov were working. and many others. In those days, the Russian public followed the successes of the emerging “realistic art” with great interest and delight and simply “flocked” to the exhibitions of the Association of Traveling Art Exhibitions.

There was a huge interest not only in painting. Literature, science, music - everything was interesting, everything was warmed by the idea of ​​​​the revival of Russian culture and Russian traditions.

Artist Viktor Vasnetsov was born on May 15, 1848 in the remote Vyatka village of Lopatya, in the family of a rural priest. The large family very soon, after the birth of Victor, moved to the village of Ryabovo, Vyatka province. The future artist spent his childhood in this God-forgotten village.

Family life rural priest differed little from the life of a simple peasant. The same garden, cattle, folk songs and fairy tales.

Soon the young man goes to Vyatka and becomes a student at the theological seminary. Studying was boring, and Victor began taking drawing lessons from the gymnasium teacher N.G. Chernyshova. Vasnetsov, with great joy and desire, painted from plaster and lithographs in the Vyatka Museum, and got a job as an assistant to the artist E. Andriolli, who at that time was painting the cathedral in Vyatka.

In 1967 future artist comes to St. Petersburg and a year later enters the St. Petersburg Academy of Arts. Here he began a completely different life: he became friends with Repin and Antokolsky, Stasov and Kramskoy. Countless meetings and literary parties, debates about the ways of development of Russian art and culture.

Many of the artist’s contemporaries recalled that at that time Vasnetsov became interested in reading Russian epics and studied national culture, folklore and folk art. However, his training at the academy became simply formal - his father died and Vasnetsov devoted more time to the elementary fight against poverty. I had to somehow live on my own and help my mother, who was left alone with young children in her arms. Perhaps that is why, later recalling the years spent at the academy, Vasnetsov called his only teacher only one Chistyakov P.P., with whom Victor developed friendly relations and to whom he very often turned for help and advice.

As a student, Vasnetsov became famous as the author of numerous drawings depicting genre scenes and urban types. Critics praised in newspapers young author for observation and friendly humor, democratic sympathy. And they predicted a great future for him as a typist (there was such a word. This is someone who draws types).

However, Vasnetsov sees himself as a serious artist and tries his hand at painting. His genre paintings the public notices. The film “From Apartment to Apartment” was a particular success.

This painting was purchased for his famous exhibition by P.M. Tretyakov.

Critics do not criticize the artist, but note that his genre paintings are not distinctive in composition and are modest in painting.

The painting “Preference” (1879) is of a completely different order.

She is called the best not only in creativity young artist, but also Russian genre painting second half of the nineteenth century. Here's what he said about this painting and about the artist Kramskoy:

Over the past 15 years, the entire Russian school has told more than it has depicted. Nowadays, he will be right who really portrays it not in a hint, but in reality. You are one of the brightest talents in understanding type. Don't you really feel your terrible power in understanding character?

However, despite the undoubted success, genre painting did not bring complete satisfaction to Vasnetsov himself. I wanted something completely different; other types and images attracted the artist.

Repin invites Vasnetsov to Paris - to unwind and look around, to be imbued with new ideas.

Vasnetsov whole year lives in Paris, studies the paintings of contemporary French masters, and visits museums. And he decides to return to Russia and settle in Moscow.

The desire to live in Moscow is not at all accidental - Moscow has long been attracting artists. Many years later he would write:

When I arrived in Moscow, I felt that I had arrived home and had nowhere else to go - the Kremlin, St. Basil's made me almost cry, to such an extent all this breathed on my soul, family, unforgettable.

It must be said that Moscow at that time attracted more than one Vasnetsov. Around the same time, Repin and Polenov moved to Moscow, and Surikov moved from the capital. Artists were keenly interested ancient capital, as a miraculous oasis capable of imbuing art with life-giving forces. We must not forget that the end of the nineteenth century is a time when interest in national history and national culture.

It was in Moscow that Vasnetsov made a “decisive and conscious transition from the genre.” He suddenly clearly realized that all these years he had been vaguely dreaming of Russian history and Russian epics, old Russian fairy tales.

And very soon the artist’s first painting appeared as a result of these “historical dreams”.

“After the massacre of Igor Svyatoslavovich with the Polovtsians” the public and critics greeted it quite coolly. The “people” demanded an archaeologically accurate depiction of the battle, but did not want to accept “fairy tales and epics”.

The artist tried to explain that while borrowing the plot from “The Tale of Igor’s Campaign,” he was not trying to create an illustration for the work. No. He deliberately removed the blood and dirt of a real battle from the canvas, and wanted to create a heroic picture that would reflect the Russian spirit and attract the viewer not with the terrible details of the past battle, but with hidden drama, beauty, and the creation of a poetic artistic image.

Chistyakov wrote to Vasnetsov:

You, most noble, Viktor Mikhailovich, poet-artist! The Russian spirit smelled so distant, so grandiose and in its own way original, that I simply became sad, I, a pre-Petrine eccentric, envied you.

The artist offered the public a completely new artistic language, which was initially not understood and not heard.

But not everyone felt this way. As soon as the painting appeared at the exhibition, Tretyakov immediately acquired it, who realized what opportunities the new direction opened up for Russian realism. And from then on famous philanthropist and the collector kept a vigilant eye on each creative step artist.

Meanwhile, Vasnetsov’s life in Moscow was simply happy: he found good friends and often visited P.M. Tretyakov’s house. at famous musical evenings.

Another friend who played a big role in the artist’s fate was Savva Ivanovich Mamontov. The artist was always a welcome guest and country house, and in the famous Abramtsevo estate. Mamontov simply selflessly loved Russian antiquity, folk art and supported young artists and writers. Very soon, thanks to the efforts of Vasnetsov, a friendly circle formed in Abramtsevo, which consisted of young artists, musicians, actors, writers who saw the origins of their creativity in Russian culture, in its origins and its uniqueness.

Paintings by artist Viktor Vasnetsov

It was in “Abramtsevo” (where the artist for a long time lived) the first cycle of fairy-tale paintings by Vasnetsov was born. The cycle opened with three paintings that were commissioned by Mamontov: “Three Princesses underground kingdom", "Alyonushka", "Ivan Tsarevich on a gray wolf".

Pictures from fairy tales Vasnetsov wrote all his life. With all their diversity (and even unequal value), all the paintings are united, first of all, by the desire to reveal the inner content of a Russian fairy tale, to create an atmosphere that is real and at the same time fantastic. Fabulous. With a special understanding of good and evil. And faith in justice and the triumph of good.

Already in the artist’s first works one can see a great love for folk costume and attention to its details. It was during this period that the participants of the Abramtsevo circle began to engage in in-depth study of ancient folk costume, forms and ornaments. And Vasnetsov uses the acquired knowledge in painting his paintings.

A striking example of passion folk costume became the artist’s sketch “In the costume of a buffoon”.

In 1881, Vasnetsov painted one of his best fairy-tale paintings - “Alyonushka”. He painted this picture in Abramtsevo. There, in Abramtsevo, the artist began decoration play "The Snow Maiden".

The performance was initially staged in Mamontov's house, and subsequently transferred to the professional stage.

With all the success of "Alyonushka", the most grandiose plan of the eighties was "Bogatyrs". The artist painted this picture for almost twenty years (1881-1898). It must be said that during this period Vasnetsov wrote several large and very significant works.

The frieze painting “Stone Age” (1882 – 1885) for the Moscow Historical Museum is 16 meters long, consisting of three parts: the first is dedicated to the life and everyday life of ancient people, the second is a scene of a mammoth hunt, the third is “The Feast”.

It is thanks to " Stone Age“The artist received a contract to paint the Vladimir Cathedral in Kyiv.

In 1891, the painting work was almost completed and the artist, together with his family, returned to Moscow. By this period financial situation The family improved so much that the Vasnetsovs were able to buy a small estate in Abramtsevo and build a small house with a workshop in Moscow. It was in this workshop that the artist resumed work on “Bogatyrs” and, at the same time, began to paint the painting “Tsar Ivan Vasilyevich the Terrible” (with this painting in 1897, the artist last time will perform at the exhibition of the Itinerants).

In 1899, the artist’s first personal exhibition opened in Moscow. And the central work of the exhibition becomes “Bogatyrs”.

IN last years of the 19th century, Vasnetsov is at the peak of his fame: the domestic and foreign press write well and a lot about the artist, his studio is visited famous musicians, artists and writers. Tretyakov in his gallery (already donated to Moscow) is building a special hall for Vasnetsov’s works.

During this period, the artist suddenly became fascinated by architecture. Many years ago, in Abramtsevo, two small buildings were erected according to the artist’s sketches: a house church and a “Hut on Chicken Legs”. Later - the facade of the Tretyakov Gallery and several private houses in Moscow.

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. In his 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 Wanderers. 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 performed 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 decoration classes for Private Opera Mamontov 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, great changes take place in his work.

In 1880 on VIII traveling exhibition a painting by V.M. Vasnetsov appeared. - “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 she saw the light famous painting Vasnetsov "Bogatyrs". Then a personal exhibition of the Russian artist took place.

In 1912, Vasnetsov was elevated to “nobility” Russian Empire dignity with all descending posterity." His fabulous 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. Vasnetsov’s last unfinished work was a portrait of M. Nesterov, a good 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 painting, 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 special Russian spirit emanated 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 became generally recognized. IN this work folklore “fantasy” and realistic details are intertwined. When painting, he studied the history of the era in historical museum, in the Armory Chamber. 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’m not alive - there is no way for the passer-by, 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, the completed painting was bought by P. Tretyakov, “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