Young painter Firsov description of the painting. "young painter" by Ivan Firsov. Painting in Russian painting
The painting “Young Painter” was painted in the eighteenth century, when genre painting was not popular and was not recognized by the Academy of Arts. For many years the authorship of the painting was not established. And only in the twentieth century did it become known for certain that this was the creation of the Russian artist I.I. Firsov, who was involved in the design of performances, including the first Russian opera “The Miller the Sorcerer, the Deceiver and the Matchmaker,” and magnificent festivities organized by nobles.
The picture is simple and uncomplicated. The picture is simple and uncomplicated. A young talent, an artist, draws a portrait. The same young lady serves as his model. The girl finds it difficult to sit still. Her eyes sparkle with mischief and slyness. She wants to jump off and see what the boy is doing at the easel. But her strict mother shakes her finger, calling for patience and perseverance. And the girl, restraining her impulse, clung to her mother. And the young artist is so passionate about his work that he does not notice anything other than his creation.
There is a box of paints on the floor next to him. To his left is a sculpture and a bust, and there are paintings on the wall. The room is brightly lit by sunlight falling from the window. A bright green curtain completes the decoration of the room. There is a box of paints on the floor next to him. To his left is a sculpture and a bust, and there are paintings on the wall. The room is brightly lit by sunlight falling from the window. A bright green curtain completes the decoration of the room.
Firsov writes freely and softly... Pink, lingonberry (red), white and pale (yellow) colors, prevailing in the first part of the canvas, softly blend with the greenish tint of the boy’s camisole on the left. This shade finds an echo in the more dull green tone of the curtain in the depths. Such a modest, carefully thought-out, colorful range contributes to the restrained poetry of the picture and the atmosphere of moral integrity diffused in it. Firsov writes freely and softly... Pink, lingonberry (red), white and pale (yellow) colors, prevailing in the first part of the canvas, softly blend with the greenish tint of the boy’s camisole on the left. This shade finds an echo in the more dull green tone of the curtain in the depths. Such a modest, carefully thought-out, colorful range contributes to the restrained poetry of the picture and the atmosphere of moral integrity diffused in it.
I.I. Firsov “clutters up” his creation with amazing skill. There is practically no free space in the picture. But this does not make the picture worse. On the contrary, it shows the life of people of that time, their private life. Bright colors give the picture indescribable expressiveness and poetry. I.I. Firsov “clutters up” his creation with amazing skill. There is practically no free space in the picture. But this does not make the picture worse. On the contrary, it shows the life of people of that time, their private life. Bright colors give the picture indescribable expressiveness and poetry.
1. Painting by I.I. Firsova is one of the best examples of the everyday genre. 1. Painting by I.I. Firsova is one of the best examples of the everyday genre. 2. Description of the painting. A) the plot of the picture B) description of the characters C) image of the art workshop D) color scheme 3. The artist’s skill.
Interior - the interior space of a room Interior - the interior space of a room Mannequin - a wooden doll for depicting human poses by an artist Easel - a stand for canvas on a stretcher Palette - a thin board for mixing paints Color scheme - selection of paints for a painting
Depicted, captured, showed, described, created; Depicted, captured, showed, described, created; Painting, artistic canvas, work of art, everyday sketch; Artist, painter, Ivan Firsov; Young artist, young painter; A girl, a model, a little mischief-maker.
The work can be used for lessons and reports on the subject "Literature"
Ready-made presentations on literature have colorful slides with images of poets and their heroes, as well as illustrations for novels, poems and other literary works. A literature teacher is faced with the task of penetrating into the soul of a child, teaching him morality, and developing a creative personality in him, therefore, presentations in literature should be interesting and memorable. In this section of our website you can download ready-made presentations for literature lessons for grades 5,6,7,8,9,10,11 absolutely and without registration.
Ivan Firsov’s painting “Young Painter” is one of the first works of Russian genre painting.
Archival documents show that the Russian artist Ivan Firsov, decorator of the imperial theaters, lived and worked in Paris in the mid-1760s, where he improved his skills at the Royal Academy of Painting and Sculpture.
There, the painting “Young Painter” was believed to have been painted by Firsov. This is indicated, in particular, by the non-Russian appearance of the characters in the painting.
Upon his return to Russia in 1768, he worked as a decorator for opera performances. Information about this time is extremely scarce; about the last years of I.I.’s life. Firsov are completely absent. But his picture is wonderful.
The plot of this picture is simple. In a spacious studio, flooded with even light, a boy artist sits in front of an easel and enthusiastically paints a portrait of a girl. An adult woman, a mother or an older sister, persuades the little model to sit quietly and maintain her pose. At the artist’s feet stands an open box of paints, on the table are the usual props of a painting workshop: a marble bust, several books, a papier-mâché mannequin depicting a human figure.
The scene written by Firsov seems snatched from life. The artist skillfully conveys the relaxed naturalness of poses and movements. With the keen observation characteristic of a true realist, the calm and affectionate severity of the mother, the slyness and impatience of the little model, and the selfless passion of the young painter are depicted.
The truthful fidelity of the characters creates that feeling of poetic charm that permeates the whole picture.
In “The Young Painter” everything is festive, artistic, unusual; and the bright colors of the clothes, and the wonderful green curtain, and the paintings on the walls, and the attributes of art on the table. The overall color harmony is unusual and beautiful.
The clutter of the stage with objects and figures is also noteworthy: paintings and sculptures are crowded to the left to leave room for the girl and her mother, the easel obscures his model from the artist. There is almost no free space or interior, which contains the soul of the everyday genre...
And yet, private life at home appears for the first time in Russian painting in this picture.
The painting by I. Firsov, executed in the Chardin style, like the only swallow that does not make spring, did not mark the beginning of everyday painting in Russia - the time had not yet come..
In terms of artistic skill, Firsov’s painting is one of the most perfect works of Russian painting of the 18th century. It is quite obvious that Firsov is a first-class artist with an impeccable command of the means of pictorial expression. His drawing is free and precise; the space in which the scene unfolds is constructed with impeccable skill; no deliberate scheme is felt in the composition, it is natural and at the same time rhythmic.
The coloring of the picture is endowed with special poetic expressiveness, with its pink-gray, silver tones, which so well convey the spiritual atmosphere of Firsov’s characters.
In terms of its content, concept and visual form, “Young Painter” has no analogues in Russian art of the 18th century. The short list of Russian artists of the 18th century who worked in the field of the everyday genre includes, in addition to Firsov, the portrait painter M. Shibanov with his paintings “Peasant Lunch” and “Celebration of the Wedding Contract” and the historical painter I. Ermenev, the author of an amazingly powerful watercolor series dedicated to depiction of Russian peasants.
The development of genre painting in the 18th century proceeded at a slow pace. She had almost no demand among customers and did not enjoy the patronage of the Academy of Arts. Among the Russian artists there were specialists in portraiture, in historical painting, there were decorators, and by the end of the century landscape painters appeared, but there was not a single master who would devote himself entirely to the everyday genre.
Firsov with his “Young Painter” occupies chronologically first place in this list. Almost no information has reached us about the fate and further work of the artist. The name of this master appeared in the history of Russian art and took an honorable place in it, in fact, quite recently.
In the 19th century, “Young Painter” was listed as the work of A. Losenko and even had his fake signature “A. Losenko 1756". True, already at the beginning of the 20th century it was quite clear to art experts that the painting had nothing in common with Losenko’s work. But its authorship remained guesswork. Various assumptions were made, tending to suggest that the author of this painting should be sought among Western European masters. The name of the famous German engraver and painter D. Khodovetsky was even named. Not all the names of Russian painters have survived to our time. Ivan Ivanovich Firsov was lucky to some extent. His authorship of the only painting that has reached us was finally confirmed only at the beginning of the twentieth century.<
In 1913, on the initiative of I. Grabar, Losenko’s signature was removed and underneath it was discovered the original, written in French, “I. Firsove."
It is also known that in 1771 Firsov executed a number of icons and decorative paintings that have not reached us. The “young painter” remains alone in the work of the remarkable Russian master. Apparently, Firsov was most gifted precisely in that area of art, which could find so little application in Russian reality in the second half of the 18th century.
Essay on a painting by a young painter by the artist Firsov, grade 4
Plan
1.Acquaintance with the picture
2. The plot of the canvas
3.Feelings that the painting evokes
Recently we were introduced to the work of the Russian artist I.I. Firsova. Among his paintings I especially liked one - “Young Painter”, painted in 1760. This was the first Russian painting to depict ordinary people, not nobles.
The picture attracts with its simplicity. It doesn't have a big story or an intricate plot. Just a boy painting a portrait of a little girl. Not colorful, not gloomy. An ordinary picture with ordinary people. They say that everything ingenious is simple. I think that Firsov proved this with his works.
The room is small, the green curtain is drawn down on the window to let in more light. The artist is dressed in a dark camisole, short pants and white knee socks. He holds a brush in his hand, and there is paint on the floor to his right. There are paintings hanging on the walls of the room. The girl is too small, she doesn’t like to sit and pose for a long time, the mother affectionately hugs her daughter and asks her not to fidget. The girl has a fair face and white curls. She is wearing a pink dress. A bench is placed under her feet so that the child does not get tired.
Soft tonal pinks and yellows, creams and whites, and subtle reds pair well with greens and browns. And the girl is very similar, the young artist painted her portrait well on his canvas. The painting “Young Painter” makes me smile. I may not be a great critic, but I can appreciate the tenderness and love that the author put into it.
Essay on the painting Young painter by artist Firsov, 5th grade
Plan
1. Artist Firsov
2.Color range
3. The plot of the picture
4.My opinion
Ivan Ivanovich Firsov is a Russian artist of the eighteenth century. In his painting he depicted not noble persons, as was customary in those days, but ordinary people. It was the painting “Young Painter”.
The picture is not distinguished by a riot of colors. The consistent tone, familiar to that time, did not bypass the creator, touching his magic brush. Pink and gray colors, with dark green are simple colors so as not to distract the viewer from the main characters. Elegance and simplicity accurately convey the mood and atmosphere that surrounds the world of the characters in his painting.
Before us is a boy, a teenager, who is already quite skilled in his craft. He, sitting on a chair, draws a portrait of a little girl being hugged by her mother. The little girl is eager to look at the artist’s work, but her mother asks her to wait and not move around. The girl obediently folded her hands on her knees, she smiled slyly. The room is small, bright, there are paintings on the walls. There are small sculptures on the table near the artist and paints on the floor.
This picture contains various feelings: tenderness, love, warmth. They are the ones who catch your eye again and again. The young artist’s work turns out well; it shows that the girl looks like herself. I like this picture, it's real. The world that the author created suddenly came to life.
For a long time, A. Losenko was considered the author of the painting “Young Painter”; a little later, art historians recognized the authorship as the German artist D. Khodovetsky, based on the dissimilarity of the outfits of the characters depicted in the picture with Russian traditional costumes of the mid-18th century. Only by 1913, thanks to the work of researcher I. Grabar, it was proven that the painting “Young Painter” was painted by the Russian master Ivan Ivanovich Firsov in 1760.
Firsov can be confidently called the founder of genre painting. Unfortunately, during the artist’s lifetime this style of art was not popular and was not recognized by the official Academy of Arts for a long time. Perhaps, precisely due to the public’s rejection of genre painting at that time, the canvas “Young Painter” is the only painting by I.I. Firsova, which has survived to this day.
It is known for certain that the great artist was a pioneer not only in painting, Ivan Ivanovich was directly involved in the design of the first Russian opera. This respectable, outstanding man was far ahead of the time in which he lived and created his unrecognized masterpieces.
Judging by the surviving historical sources, the painting “Young Painter” was painted by the artist during a trip to France. Even the master’s authentic signature, discovered relatively recently, is written in French.
The image of a small room, dimly lit by a single window with heavy dark green curtains, immerses the viewer in the creative atmosphere of the studio of a very young artist. Perhaps a boy of about thirteen earns his living by selling portraits, but more likely, he is simply honing the skills he acquired at the gymnasium. It is felt that the young portrait painter devoted quite a lot of time to his painting; he clearly wants to stretch his muscles that have become stiff from sedentary work, and the little sitter is clearly tired. A girl in a simple coral dress with a white apron and her hair raised high above a headdress that matches her outfit is coaxing a little girl who is ready to act up at any moment. A girl with wheat-gold hair in a fluffy dress the color of a ripe peach agrees to pose some more, clinging to her older mentor.
The young artist paints the portrait diligently, trying to achieve the greatest resemblance, and the visible result of his work is quite good. Judging by the size of the wooden easel, the towel with fingerprints stained with oil, and the open chest with art supplies, one can judge that the young talent is in his studio.
The walls are decorated with two framed portraits, perhaps by a young artist, or perhaps by more professional artists, serving as inspiration and example.
Near the window there is a table topped with a heavy plaster or marble mannequin. Artists often use such busts, putting on them luxurious headdresses, popular among wealthy ladies of that time, in order to convey as accurately as possible the grace of numerous laces and folds of expensive fabrics.
Probably, the portrait is very important for the family of the golden-haired baby. For the convenience of the child, there is even a stand for small feet. The woman, judging by the position of her hand, is clearly saying something edifying, is pregnant, it is definitely difficult for her to stand, but despite the inconvenience, she continues to be near the girl, who wants to quickly jump up and see her image on the canvas.
Who knows, maybe Firsov’s painting is autobiographical; the artist simply embodied on canvas one of the memories of his creative youth. There is a desire to sincerely wish the young painter creative success and public recognition, so that the next painting that delights the whole world belongs to his brush.
Ivan Firsov’s painting “Young Painter” is one of the earliest, but already perfect examples of the Russian everyday genre.
The plot of this picture is simple. In a spacious studio, flooded with even light, a boy artist sits in front of an easel and enthusiastically paints a portrait of a girl. An adult woman, a mother or an older sister, persuades the little model to sit quietly and maintain her pose. At the artist’s feet stands an open box of paints, on the table are the usual props of a painting workshop: a marble bust, several books, a papier-mâché mannequin depicting a human figure.
The scene written by Firsov seems snatched from life. The artist skillfully conveys the relaxed naturalness of poses and movements.
With the keen observation characteristic of a true realist, the calm and affectionate severity of the mother, the slyness and impatience of the little model, and the selfless passion of the young painter are depicted. The truthful fidelity of the characters creates that feeling of poetic charm that permeates the whole picture.
In terms of artistic skill, Firsov’s painting is one of the most perfect works of Russian painting of the 18th century.
It is quite obvious that Firsov is a first-class artist with an impeccable command of the means of pictorial expression. His drawing is free and precise; the space in which the scene unfolds is constructed with impeccable skill; no deliberate scheme is felt in the composition, it is natural and at the same time rhythmic. The coloring of the picture is endowed with special poetic expressiveness, with its pink-gray and silver tones, which so well convey the spiritual atmosphere of Firsov’s characters.
In terms of its content, concept and visual form, “Young Painter” has no analogues in Russian art of the 18th century.
The development of genre painting in the 18th century proceeded at a slow pace. She had almost no demand among customers and did not enjoy the patronage of the Academy of Arts. Among the Russian artists there were specialists in portraiture, in historical painting, there were decorators, and by the end of the century landscape painters appeared, but there was not a single master who would devote himself entirely to the everyday genre.
This state of affairs did not arise by chance, of course. Disregard for everyday topics is characteristic of court and noble culture. It is known that Louis XIV ordered the removal of paintings by the great Dutch genre painters from the walls of the Palace of Versailles, calling them “monsters.” The successes of the everyday genre in world art of the 18th century are directly related to the development of bourgeois ideology and the rise of the social and political role of the third estate. In the Russian reality of Elizabethan and Catherine's times, there were no conditions for the flourishing of genre painting, since the leadership of the cultural life of the country remained entirely in the hands of the nobility. Everyday themes, addressed to living modernity, contradicted official artistic guidelines with their demand for the “sublime” and “heroic” in art. Even the portrait, which was so necessary in the life of the nobility and developed despite official non-recognition, was not considered “high” art. And everyday painting occupied the very last, lowest place in the hierarchy of genres developed by academic theorists.
This explains the extreme paucity of everyday paintings in Russian art of the 18th century. It is noteworthy, however, that the quantitative deficiency is fully compensated by the unusually high artistic quality of what was done by Russian masters in the field of the genre. What is the answer to this amazing phenomenon? Is it not that works on everyday themes despised by noble society were created by artists “for themselves”, with all the sincerity arising from the inner need of creativity, without regard to the tastes of the customer and the official requirements of the Academy?
The short list of Russian artists of the 18th century who worked in the field of the everyday genre includes, in addition to Firsov, the portrait painter M. Shibanov with his paintings “Peasant Lunch” and “Celebration of the Wedding Contract” and the historical painter I. Ermenev, the author of an amazingly powerful watercolor series dedicated to depiction of Russian peasants.
Firsov with his “Young Painter” occupies chronologically first place in this list. Almost no information has reached us about the fate and further work of the artist. The name of this master appeared in the history of Russian art and took an honorable place in it, in fact, quite recently.
In the 19th century, “Young Painter” was listed as the work of A. Losenko and even had his fake signature “A. Losenko 1756". True, already at the beginning of the 20th century it was quite clear to art experts that the painting had nothing in common with Losenko’s work. But its authorship remained guesswork. Various assumptions were made, tending to suggest that the author of this painting should be sought among Western European masters. The name of the famous German engraver and painter D. Khodovetsky was even named. But in 1913, on the initiative of I. Grabar, Losenko’s signature was removed and underneath it was discovered the authentic, written in French “I. Firsove."
Archival documents indicate that the Russian artist Ivan Firsov, decorator of the imperial theaters, lived and worked in Paris in the mid-1760s. It can be assumed that “The Young Painter” was written in Paris: this is indicated, in particular, by the non-Russian appearance of the characters in the picture.
Another work signed by Ivan Firsov has survived - the decorative panel “Flowers and Fruits”, dated 1754 and once adorning the Catherine Palace. But in this work, rough and student-like, it is difficult to find similarities with the virtuoso painting of the “Young Painter”. It is also known that in 1771 Firsov executed a number of icons and decorative paintings that have not reached us. The “young painter” remains alone in the work of the remarkable Russian master. Apparently, Firsov was most gifted precisely in that area of art, which could find so little application in Russian reality in the second half of the 18th century.
And a little about the artist’s biography...
It is believed that Ivan Firsov was born in 1733. His father and grandfather were artists. At the age of fifteen, by imperial decree, he went, along with carpenters, carvers and gilders, to St. Petersburg to participate in decorating the city on the occasion of the marriage of the heir to the throne - the future Peter III - with the German princess - the future Catherine II. Firsov performed “golden works”, but quickly attracted the attention of artists.
In 1747, he was already in the “painting team” of the Office of Buildings and worked under the leadership of I. Ya. Vishnyakov and D. Valeriani.
In 1759, Firsov became the court painter of the heir Pyotr Fedorovich, went to Oranienbaum, painted scenery for opera productions and designed some palace interiors.
In 1762, Firsov was assigned to the department of the Directorate of Imperial Theaters, with which he would be associated until the end of his career.
His talent was noted, and on the personal instructions of Catherine II, already one of the famous Russian artists, he was sent “to foreign lands for two years for better training in painting and theater science.”
In 1765, the artist found himself in Paris, in an atmosphere of freedom, independence, and respect that struck him. Firsov stayed in Paris for only a little over two years. He often suffered “extreme need”, since money from Russia arrived in France with great delays.
The artist’s fate upon his return to Russia was difficult. The work of a theater decorator - for a meager salary, without days off or holidays, under the supervision of third-rate foreign artists - completely exhausted his health. In 1784 he fell ill with a severe mental disorder, and no information about his further fate has been preserved.
