The importance of critical activity of V.V. Stasov for the development of Russian art. Vladimir Stasov Stasov

V. V. STASOV AND HIS IMPORTANCE AS AN ART CRITIC

The activities of V.V. Stasov as an art critic were inextricably linked with the development of Russian realistic art and music in the second half of the 19th century. He was their passionate promoter and defender. He was an outstanding representative of Russian democratic realistic art criticism. Stasov, in his criticism of works of art, assessed them from the point of view of the fidelity of artistic reproduction and interpretation of reality. He tried to compare the images of art with the life that gave birth to them. Therefore, his criticism of works of art often expanded to criticism of the phenomena of life themselves. Criticism became an affirmation of the progressive and a fight against the reactionary, anti-national, backward and bad in public life. Art criticism was also journalism. Unlike previous art criticism - highly specialized or intended only for specialist artists and connoisseurs, art connoisseurs - the new, democratic criticism appealed to a wide range of viewers. Stasov believed that the critic is an interpreter of public opinion;

Stasov was an extremely versatile and deeply educated person. He was interested not only in fine arts and music, but also in literature. He wrote studies, critical articles and reviews on archeology and the history of art, on architecture and music, on folk and decorative arts, read a lot, spoke most European languages, as well as classical Greek and Latin. He owed his enormous erudition to continuous work and his inexhaustible curiosity. These qualities of his - versatility of interests, well-read, highly educated, habit of constant, systematic mental work, as well as a love of writing - were developed in him by his upbringing and life environment.

Vladimir Vasilyevich Stasov was born in 1824. He was the last, fifth child in the large family of the outstanding architect V.P. Stasov. From childhood, his father instilled in him an interest in art and hard work. He taught the boy to systematically read, to the habit of expressing his thoughts and impressions in literary form. Thus, from his youth, the foundations of that love for literary work, that desire and ease with which Stasov wrote were laid. He left behind a huge literary legacy.

Having graduated from the School of Law in 1843, young Stasov served in the Senate and at the same time independently studied music and fine arts, which particularly attracted him. In 1847, his first article appeared - “Living paintings and other artistic objects of St. Petersburg.” It opens the critical activity of Stasov.

Stasov’s work as a secretary for the Russian rich man A.N. Demidov in Italy, in his possession of San Donato, near Florence, brought great benefit to Stasov. Living there in 1851 - 1854, Stasov worked hard on his artistic education.

Soon after returning home to St. Petersburg, Stasov begins working at the Public Library. He worked here all his life, heading the Art Department. Collecting and studying books, manuscripts, engravings, etc. further develops Stasov’s knowledge and becomes the source of his enormous erudition. He helps with advice and consultation to artists, musicians, directors, obtaining the necessary information for them, looking for historical sources for their work on paintings, sculptures, and theatrical productions. Stasov moves in a wide circle of prominent cultural figures, writers, artists, composers, performers, and public figures. He formed especially close ties with young realist artists and musicians who were looking for new paths in art. He is keenly interested in the affairs of the Itinerants and musicians from the “Mighty Handful” group (by the way, the very name belongs to Stasov), helps them in both organizational and ideological matters.

The breadth of Stasov's interests was reflected in the fact that he organically combined the work of an art historian with the activities of an art critic. Living, active participation in modern artistic life, in the struggle of democratic, advanced art with the old, backward and reactionary, helped Stasov in his work on studying the past. Stasov owed the best, most accurate aspects of his historical and archaeological research and judgments about folk art to his critical activity. The struggle for realism and nationality in modern art helped him better understand issues of art history.

Stasov's view of art and artistic beliefs developed in an environment of high democratic upsurge in the late 1850s and early 1860s. The struggle of revolutionary democrats against serfdom, against the feudal class system, and against the autocratic police regime for a new Russia extended to the field of literature and art. It was a struggle against the backward views of art that reigned in the ruling class and had official recognition. The degenerating noble aesthetics proclaimed “pure art”, “art for art’s sake”. The sublime, cold and abstract beauty or the cloying conventional external beauty of such art was contrasted with the real surrounding reality.

Democrats counter these reactionary and deadened views of art with life-related, nurturing views. This includes realistic art and literature. N. Chernyshevsky in his famous dissertation “Aesthetic relations of art to reality” proclaims that “the beautiful is life”, that the field of art is “everything that is interesting for a person in life.” Art should explore the world and be a “textbook for life.” In addition, it must make its own judgments about life, have “the meaning of a verdict about the phenomena of life.”

In the name of such art, he begins his struggle with the Academy of Arts, with its educational system and with its art. The Academy was hostile to him both as a reactionary government institution and because of its outdatedness, isolation from life, and pedantry of its artistic positions. In 1861, Stasov published an article “On the exhibition at the Academy of Arts.” With it, he begins his struggle with outdated academic art, which was dominated by mythological and religious subjects far from life, for a new, realistic art. This was the beginning of his long and passionate critical struggle. In the same year, his large work “On the significance of Bryullov and Ivanov in Russian art” was written. Stasov views the contradictions in the work of these famous artists as a reflection of the transition period. He reveals in their works the struggle of the new, realistic principle with the old, traditional one and seeks to prove that it was these new, realistic features and trends in their work that ensured their role in the development of Russian art.

In 1863, 14 artists refused to complete their graduation topic, the so-called “program,” defending freedom of creativity and a realistic depiction of modernity. This “revolt” of the academy students was a reflection of the revolutionary upsurge and awakening of the public in the field of art. These “Protestants,” as they were called, founded the “Artel of Artists.” From it grew the powerful movement of the Association of Traveling Art Exhibitions. These were the first not governmental or noble, but democratic public organizations of artists, in which they were their own masters. Stasov warmly welcomed the creation of first the Artel and then the Association of the Wanderers. “He rightly saw in them the beginning of a new art and then in every possible way promoted and defended the Wanderers and their art. Our collection contains some of the most interesting of Stasov’s articles devoted to the analysis of traveling exhibitions. The article “Kramskoy and Russian Artists” is indicative for its defense of the positions of advanced, realistic art and its outstanding figures. In it, Stasov passionately and rightly rebels against the belittling of the importance of the remarkable artist, leader and ideologist of the Wandering Movement - I. N. Kramskoy. An interesting example of the defense of works of realistic art. from reactionary and liberal criticism is Stasov’s analysis of I. Repin’s famous painting “They Didn’t Expect.” In it, Stasov refutes the distortion of its social meaning. The reader will find this in the article “Our artistic affairs.”

Stasov always looked for deep ideological content and life truth in art, and from this point of view, first of all, he evaluated works. He argued: “This is the only art that is great, necessary and sacred, which does not lie or fantasize, which does not amuse itself with old toys, but looks with all its eyes at what is happening everywhere around us, and, having forgotten the former lordly division of plots into high and low, with a flaming chest it presses against everything where there is poetry, thought and life” (“Our artistic affairs”). He was even inclined at times to consider the desire to express large ideas that excite society as one of the characteristic national characteristics of Russian art.

In the article “25 Years of Russian Art,” Stasov, following Chernyshevsky, demands that art be a critic of social phenomena. He defends the tendentiousness of art, considering it as an open expression by the artist of his aesthetic and social views and ideals, as the active participation of art in public life, in the education of people, in the struggle for advanced ideals.

Stasov argued: “Art that does not come from the roots of people’s life is, if not always useless and insignificant, then at least always powerless.” Stasov’s great merit is that he welcomed the reflection of people’s life in the paintings of the Wanderers. He encouraged this in their work in every possible way. He gave a careful analysis and high appreciation of the display of images of the people and folk life in Repin’s paintings “Barge Haulers on the Volga” and especially “Religious Procession in the Kursk Province.” He especially put forward such pictures in which the protagonist is the mass, the people. He called them "choral". He praises Vereshchagin for showing the people in war, and in his appeal to the people of art he sees similarities in the works of Repin and Mussorgsky.

With all the passion of his nature, with all his journalistic fervor and talent, Stasov throughout his life defended the idea of ​​independence and originality in the development of Russian art.

At the same time, the false idea of ​​supposed isolation, or exclusivity, of the development of Russian art was alien to him. Defending its originality and originality, Stasov understood that it generally obeys the general laws of the development of new European art. Thus, in the article “25 years of Russian art,” speaking about the origin of Russian realistic art in the work of P. Fedotov, he compares it with similar phenomena in Western European art, establishing both the commonality of development and its national identity. Ideology, realism and nationality - Stasov defended and promoted these main features in contemporary art.

The breadth of interests and wide-ranging education of Stasov allowed him to consider painting not in isolation, but in connection with literature and music. The comparison of painting and music is especially interesting.

The heyday of Stasov's critical activity dates back to 1870 - 1880. His best works were written during this time, and during this time he enjoyed the greatest public recognition and influence. Stasov continued, until the end of his life, to defend the public service of art, arguing that it should serve social progress. Stasov spent his entire life fighting against opponents of realism at different stages of the development of Russian art.

But, of course, even in the best works of criticism, not everything is true and acceptable to us. Stasov was a son of his time, and in his views and concepts there were, along with very valuable, weak and limited sides.

It would be possible to point out other erroneous or extreme judgments of Stasov, caused by polemical fervor and the circumstances of the struggle. But it is not these mistakes or misconceptions of a wonderful critic, but his strengths, the correctness of his main provisions that are important and valuable to us. He was strong and truly great as a democratic critic, who gave artistic criticism great social significance and weight. He was right in the main, main and decisive things: in the public understanding of art, in defending realism, in the assertion that it is the realistic method, the connection of art with life, the service of this life that ensures the flourishing, height and beauty of art. This affirmation of realism in art constitutes the historical significance, strength and dignity of Stasov. This is the enduring significance of his critical works, their value and instructiveness for us today. Stasov’s works are also important for getting acquainted with the historical development and achievements of Russian realistic art.

The reader will find in the collection general essays, such as “25 years of Russian art,” as well as articles about individual works, for example, about the portrait of Mussorgsky or L. Tolstoy by Repin. They are examples of close, skillful consideration of a single outstanding work.

What is instructive and valuable for us in Stasov the critic is not only his great integrity, the clarity and firmness of his aesthetic positions, but also his passion and temperament with which he defends his convictions. Until the end of his days (Stasov died in 1906) he remained a critic and fighter.

His love for art and devotion to what he considered authentic and beautiful in it were remarkable. This living connection of his with art, the feeling of it as his own business, practical and necessary, was correctly characterized by M. Gorky in his memoirs about Stasov. Love for art dictates both its affirmations and its denials; “the flame of great love for beauty always burned in him.”

Ladimir Stasov is a music and art critic. His articles popularized the ideas of democratic culture and explained art to the masses. Stasov participated in the creation of the “Mighty Handful” community of composers and supported the movement of Peredvizhniki artists. Together they fought against academicism and the isolation of art from real life.

Young polymath

Vladimir Stasov was born in St. Petersburg into a noble family. His mother died early, and his father, the famous architect Vasily Stasov, was involved in raising the boy. He taught his son to systematically read and express his thoughts on paper - this is how Stasov fell in love with literary work. As a child, Vladimir Stasov dreamed of entering the Academy of Arts and following in the footsteps of his father, but he wanted his son to become an official, so in 1836 he sent his son to the school of law.

It was at the school that Vladimir Stasov became truly interested in art, especially music. Together with his friends, he acted out scores, rearranged operas and ballets, performed romances and arias, and took part in plays and concerts. “Hardly in any other Russian educational institution,- Stasov recalled, - music flourished to such an extent as in the law school. In our time, music played such an important role in our country that it could probably be considered one of the largest features of the general physiognomy of the school.”.

Vladimir Stasov. Photo: aeslib.ru

Mikhail Gorky, Vladimir Stasov and Ilya Repin in Kuokkala. 1900. Photo: ilya-repin.ru

Vladimir Stasov. Photo: nlr.ru

While studying, Stasov met the young musician Alexander Serov. Together they enthusiastically discussed the works of modern painters, new literature and the works of famous composers. During their studies, they studied almost all foreign and domestic musical literature. But the main ideological inspirer of Vladimir Stasov in matters of art was the critic Vissarion Belinsky.

“Belinsky’s enormous significance, of course, did not relate to just one literary part: he cleared the eyes of all of us, he educated characters, he chopped, with the hand of a strong man, the patriarchal prejudices with which all of Russia lived before him, he prepared from afar that healthy and powerful intellectual a movement that strengthened and rose a quarter of a century later. We are all his direct students.”

Vladimir Stasov

The formation of a critical view of art

In 1843, Vladimir Stasov graduated from college and got a job as an assistant secretary in the Land Survey Department of the Senate. Five years later he transferred to the Department of Heraldry, and two years later to the Department of Justice. But Stasov was not interested in either jurisprudence in general or the career of an official in particular. Most of all, he was interested in art.

Stasov believed that art needs professional critics. He shared the opinion of Vissarion Belinsky: art needs people “who, without producing anything themselves, nevertheless engage in art as their life’s work... studying it themselves, explain it to others.” Later, Stasov put forward the motto of his life “to be useful to others, if he himself was not born a creator.”

At the age of 23, Vladimir Stasov published his first critical article about the French composer Hector Berlioz in the journal Otechestvennye zapiski. In the same year, the chief publisher of the magazine, Andrei Kraevsky, invited Stasov to the foreign literature department and allowed him to write short review articles on painting, music and architecture. During his two years of work at Otechestvennye Zapiski, Vladimir Stasov wrote about 20 articles.

In 1851, Vladimir Stasov went abroad with the Ural industrialist and philanthropist Anatoly Demidov as his secretary. Stasov understood that a critic must understand all areas of culture, and therefore in Europe he communicated with musicians and scientists, artists and architects, and studied European art.

“Criticism must contain all the arts, certainly without exception, because they are different aspects and means of one and the same general whole... only then can complete thought exist and there will be no more funny, hitherto existing disputes about which art above: sculpture, or poetry, or music, or painting, or architecture?

Vladimir Stasov

Critical realism of Vladimir Stasov

Ilya Repin. Portrait of Vladimir Stasov. 1905. State Russian Museum

Ilya Repin. Portrait of Vladimir Stasov. 1900. State Russian Museum

Ilya Repin. Portrait of Vladimir Stasov at his dacha in the village of Starozhilovka near Pargolov. 1889. State Tretyakov Gallery

Three years later, Vladimir Stasov returned to St. Petersburg. In Russia at this time, the democratic socio-political movement was gaining strength, and “critical realism” became the dominant trend in culture. He fought against academicism, religious and mythological themes and the isolation of art from the people. Realism proclaimed that art should explore the world and be a “textbook for life.”

Stasov believed that “every people should have their own national art, and not trail behind others along beaten paths, at someone else’s orders,” so he looked for and supported the best representatives of Russian art. In St. Petersburg, Vladimir Stasov became friends with young composers Mily Balakirev and Alexander Dargomyzhsky. Together they formed a small circle of Russian music lovers.

Later, members of this circle - Mily Balakirev, Modest Mussorgsky, Alexander Borodin, Nikolai Rimsky-Korsakov and Cesar Cui - created the artistic association of composers "The Mighty Handful", the name of which was given by Stasov. The Kuchkists sought to embody the Russian national idea in music, studied musical folklore and church chants - and later used their elements in their compositions. Vladimir Stasov not only wrote articles about young musicians, but also helped them in their work: he suggested plots for operas, selected materials and documents for the libretto.

In the 1860s, Stasov also became friends with members of the Artel of Free Artists. Representatives of the movement rebelled against academicism in painting: they wanted to paint pictures on life themes, and not on staged subjects. Stasov shared their ideas, defending the principles of realism.

In 1870, the artel was replaced by the Association of Traveling Art Exhibitions. Inspired by the idea of ​​populism, Moscow and St. Petersburg painters took up educational work and organizing exhibitions. Vladimir Stasov supported their movement, in his articles he described social issues that affected the works of the Itinerants, and welcomed the reflection of people's life in their paintings.

At the same time, Stasov worked at the Public Library in St. Petersburg: he helped collect historical materials, organized exhibitions of ancient Russian manuscripts, and in 1872 became head of the art department. During his 50 years of service at the St. Petersburg Public Library, Vladimir Stasov collected a large collection of works by artists and did a lot to open free access to the library.

In 1900, Stasov was elected an honorary member of the Imperial St. Petersburg Academy of Sciences.

Vladimir Stasov died in 1906 in St. Petersburg. He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra. Two years later, a monumental tombstone with the inscription “To the Champion of Russian Art” was installed on his grave.

Stasov considered art and music criticism to be the main work of his life. Since 1847, he systematically published articles on literature, art, and music. A figure of the encyclopedic type, Stasov amazed with the versatility of his interests (articles on Russian and foreign music, painting, sculpture, architecture, research and collecting works in the field of archaeology, history, philology, folklore, etc.). Adhering to advanced democratic views, Stasov in his critical activities relied on the principles of aesthetics of Russian revolutionary democrats - V.G. Belinsky, A.I. Herzen, N.G. Chernyshevsky. He considered realism and nationalism to be the foundations of advanced modern art. Stasov fought against academic art that was far from life, the official center of which in Russia was the St. Petersburg Empire Academy of Arts, for realistic art, for the democratization of the arts and life. A man of enormous erudition, connected by friendly relations with many leading artists, musicians, and writers, Stasov was for a number of them a mentor and adviser, a defender from the attacks of reactionary official criticism.

Stasov's musical and critical activity, which began in 1847 ("Musical Review" in "Notes of the Fatherland"), spans more than half a century and is a living and vivid reflection of the history of our music during this period of time.

Having begun in a dark and sad time of Russian life in general and Russian art in particular, it continued in the era of awakening and a remarkable rise in artistic creativity, the formation of a young Russian music school, its struggle with routine and its gradual recognition not only in Russia, but also in West.

In countless magazine and newspaper articles, Stasov responded to every somewhat remarkable event in the life of our new music school, passionately and convincingly interpreting the meaning of the new works, fiercely repelling the attacks of opponents of the new direction.

Not being a real specialist musician (composer or theorist), but having received a general musical education, which he expanded and deepened with independent studies and acquaintance with outstanding works of Western art (not only new, but also old - old Italians, Bach, etc. .), Stasov went little into a specifically technical analysis of the formal side of the musical works under analysis, but with all the greater fervor he defended their aesthetic and historical significance.

Guided by a fiery love for his native art and its best figures, a natural critical instinct, a clear consciousness of the historical necessity of a national art direction and an unshakable faith in its ultimate triumph, Stasov could sometimes go too far in expressing his enthusiastic passion, but relatively rarely was he mistaken in the overall appreciation of everything significant, talented and original.

With this, he connected his name with the history of our national music in the second half of the 19th century.

In terms of sincerity of conviction, disinterested enthusiasm, fervor of presentation and feverish energy, Stasov stands completely apart not only among our music critics, but also among European ones.

In this respect, he partly resembles Belinsky, leaving aside, of course, any comparison of their literary talents and significance.

Stasov's great merit to Russian art should be given to his unnoticeable work as a friend and adviser to our composers (Starting with Serov, whose friend Stasov was for a long number of years, and ending with representatives of the young Russian school - Mussorgsky, Rimsky-Korsakov, Cui, Glazunov, etc.), who discussed with them their artistic intentions, details of the script and libretto, took care of their personal affairs and contributed to the perpetuation of their memory after their death (the biography of Glinka, for a long time the only one we have, biographies of Mussorgsky and our other composers, publication of their letters, various memoirs and biographical materials, etc.). Stasov also did a lot as a historian of music (Russian and European).

His articles and brochures are dedicated to European art: "L" "abbe Santini et sa collection musicale a Rome" (Florence, 1854; Russian translation in the "Library for Reading", 1852), a lengthy description of the autographs of foreign musicians belonging to the Imperial Public Library ("Notes of the Fatherland", 1856), "Liszt, Schumann and Berlioz in Russia" ("Northern Vestnik", 1889, Nos. 7 and 8; extract from here "Liszt in Russia" was printed with some additions in " Russian Musical Newspaper" 1896, Nos. 8--9), "Letters of a Great Man" (Fr. Liszt, "Northern Herald", 1893), "New biography of Liszt" ("Northern Herald", 1894 ) and others. Articles on the history of Russian music: “What is beautiful demesne singing” (“News of the Imperial Archaeological Society,” 1863, vol. V), description of Glinka’s manuscripts (“Report of the Imperial Public Library for 1857”) , a number of articles in the third volume of his works, including: “Our music over the last 25 years” (“Bulletin of Europe”, 1883, No. 10), “Brakes of Russian art” (ibid., 1885, No. 5--6 ) and etc.; biographical sketch "N.A. Rimsky-Korsakov" ("Northern Bulletin", 1899, No. 12), "German organs among Russian amateurs" ("Historical Bulletin", 1890, No. 11), "In memory of M.I. Glinka" ("Historical Bulletin", 1892, No. 11 and seq.), "Ruslan and Lyudmila" M.I. Glinka, to the 50th anniversary of the opera" ("Yearbook of the Imperial Theaters" 1891--92 and others), "Glinka's Assistant" (Baron F.A. Rahl; "Russian Antiquity", 1893, No. 11; about him " Yearbook of the Imperial Theaters", 1892-93), biographical essay by Ts.A. Cui ("Artist", 1894, No. 2); biographical essay by M.A. Belyaev ("Russian Musical Newspaper", 1895, No. 2), "Russian and foreign operas performed at the Imperial Theaters in Russia in the 18th and 19th centuries" ("Russian Musical Newspaper", 1898, Nos. 1, 2, 3 and others), "Composition attributed to Bortnyansky" (project for imprinting hook singing ; in "Russian Musical Newspaper", 1900, No. 47), etc. Stasov's editions of letters from Glinka, Dargomyzhsky, Serov, Borodin, Mussorgsky, Prince Odoevsky, Liszt, etc. are of great importance. The collection of materials for the history of Russian is also very valuable. church singing, compiled by Stasov in the late 50s and transferred by him to the famous musical archaeologist D.V. Razumovsky, who used it for his major work on church singing in Russia.

1824 - 1906, Russian art historian, music and art critic, ideologist of the “Mighty Handful” (Balakirev circle).

The relationship between Tchaikovsky and Stasov is an example of a frequently encountered historical situation when figures devoted to the same cause - in this case, Russian music - people who personally sympathize with each other cannot find mutual understanding on the most fundamental, fundamental issues of art. A promoter of the work of composers of the Balakirev circle, Stasov never understood the most essential thing in Tchaikovsky’s work. Not being a music critic himself, Stasov did not respond to the performance of individual works by Pyotr Ilyich, but from printed works of a more general nature his position is completely clear. It can be formulated quite briefly: Stasov likes only the program works of the Moscow composer, from symphonies - only the Second, from opera music - nothing.

Here are some of Stasov's statements. About the fantasy overture “Romeo and Juliet”: “charming and poetic to the highest degree” (Articles on Music, 2.258). About “The Tempest” (the plot was proposed to Tchaikovsky by Stasov, and the fantasy is dedicated to him) - “one of his best creations...”. These same two works and also “Francesca da Rimini” are positively assessed in the article “Brakes of Russian Art” (1885).

Another review article of the same time (“Our Music for the Last 25 Years,” 1883) says about Tchaikovsky: “His talent was very strong, but his conservatory education had an unfavorable influence on him... The national element is not always successful for Tchaikovsky, but he has his own masterpiece of this kind: the finale of the symphony in C minor on the Little Russian folk theme “The Crane”... But what Tchaikovsky has least ability for is his operas, which are numerous, but present almost nothing remarkable. shortcomings, errors and misconceptions." (3, 191-2). (This is after Onegin!)

Tchaikovsky’s connection with figures of the Imperial Russian Musical Society, primarily his studies with Anton Rubinstein and friendship with Nikolai Rubinstein, placed Tchaikovsky and Stasov on opposite sides of the “barricades.” About the First Concerto for Piano and Orchestra, brilliantly played by N. Rubinstein in Paris at the World Exhibition of 1878, Stasov wrote that this concert “does not belong to the best works of the composer” (2, 344). In connection with the mentioned concerts of Russian music in Paris, where the work of the authors of the “Mighty Handful” was not sufficiently represented, Stasov says, uniting Tchaikovsky and A. Rubinstein: “both of them are not independent enough, and not strong and national enough” (2, 345).

The Paris concerts aroused the anger of the temperamental Vladimir Vasilyevich, and he made a number of unfair accusations against Nikolai Rubinstein. Tchaikovsky responded in a large, frank letter (January 1879): “... You were not mistaken in assuming that I sympathize with you. I am far from a fan of your articles on music. I do not like the essence of your opinions, nor that harsh, passionate tone, with which they are presented. But at the same time, I know very well that even those aspects of your activity that I cannot sympathize with in any way have a sympathetic lining, that is, undoubted sincerity, a passionate love for art... It is all the more sad to realize that that between you and me lies a bottomless abyss... What were and will be artistic revelations for me, you call rubbish. Where I find nothing but ignorance, ugliness and a parody of art, there you see pearls of aesthetic beauty... "

Undoubtedly, as in the case of differences with M.A. Balakirev, with the “Mighty Handful” in general, what was meant here, on the one hand, was the classical heritage, primarily Mozart, and, on the other, the work of Liszt, Berlioz, which was distant from Tchaikovsky, and also, of course, the music of Mussorgsky, which remained incomprehensible to Peter Ilyich (which, moreover, was known to few people in those years).

At the end of this long letter, Tchaikovsky adds: “...On occasion, take the trouble to convey a friendly greeting from me to Korsakov. This is one of the few points on which you and I agree. I love his talent as much as I love his integrity, honest and likeable personality.” personality."

But, besides Rimsky-Korsakov, there was one more common “point”, or rather, a unifying principle, and the name of this phenomenon is Glinka.

L. Z. Korabelnikova

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V.V. Stasov. From the series “Mass Library”.

In the article “Artistic Statistics,” Stasov sharply criticized the policy of the autocracy, which in the 80s, during the period of reaction, in every possible way prevented the entry of “cook’s children” into schools and closed the doors of the Academy of Arts to people from the people.

In his article “Exhibition at the Academy of Arts” (1867) he highly evaluates the painting Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... « . 1862 Oil on canvas, 173 x 136"for the denunciation of women's lack of rights expressed in it. Analyzing its contents, he writes: “An old general, a dilapidated mummy with stars on his chest and, probably, bags of gold in caskets, marries a young girl whose eyes are swollen and red from crying - this is a victim sold by a caring mother or aunt.” “It seems that you see in the very reality of this old groom, with the last of his hair sticking out, pomaded and perfumed, you see his shaking head... it seems that you hear what this unfortunate sold girl is thinking, who is already offering her hand to the priest, and herself with drooping with her head and downcast eyes she almost turns away from the disgusting old Groom, looking askance at her; her hands seem to be dead, they are ready to fall, the wedding candle seems to be about to slip out of her cold fingers and light up the rich lace on her dress, which she has now forgotten about, and they probably played an important role when all her relatives persuaded the poor girl marry a rich general."

Having thus revealed the artistic image, explaining and condemning the meaning of the depicted phenomenon, Stasov emphasized that “this motif is repeated almost every day everywhere.”

Each of his analyzes is structured as if life itself were before the viewer’s eyes, and not just its reflection in art.

About Repin's " . 1872—1873 Oil on canvas, 131.5×281 cmState Russian Museum“He writes: “In front of you is the wide, endlessly stretching Volga, as if melting and falling asleep under the scorching July sun. Somewhere in the distance a smoking steamer flashes, closer to the golden inflating sail of a poor boat, and ahead, walking heavily along the wet shallows and imprinting the traces of their bast shoes on the damp sand, is a gang of barge haulers. Harnessing themselves into their straps and pulling on the lines of a long whip, these eleven people walk at a pace, a living cart, bending their bodies forward and swaying to the beat inside their collar.”

Assessing the emerging picture A great Russian artist, painter, the greatest master of historical painting. Studied at the St. Petersburg Academy of Arts. He was a member of the Association of Itinerants from 1881 to 1907, then moved to the Union of Russian Artists. Since 1895 there was... « . 1887 Oil on canvas, 304 x 587.5State Tretyakov Gallery"And having depicted in bright colors the fanatical schismatic and all these people who sympathize and mock her, Stasov turns to Russian life itself in the 17th century and says: "...We can no longer be concerned about the interests that worried this poor fanatic two hundred years ago ... but one cannot help but bow before this strength of spirit, before this indestructibility of the female mind and heart of the noblewoman, who, according to the ideas of the people, lamented about their needs and grief.”

“We shrug our shoulders at strange delusions, at vain, colorless martyrdom, but we no longer stand on the side of these laughing boyars and priests, we do not rejoice with them stupidly and brutally. No, with our sympathetic gaze we are looking for something else in the picture: all these drooping heads, lowered eyes, quietly and painfully glowing, all these meek souls who at that moment were the best and most sympathetic people, but compressed and oppressed, and therefore they had no power say your real word..."

The style, character and methods of criticism of Stasov are worthy of attention.

Stasov revealed first of all the idea of ​​the work. Only based on the content of the work, he also considered its form, and more than once pointed out to artists the shortcomings of their artistic language, the shortcomings of the drawing, the dullness of color, and called for improving their skills.

“...No matter how great and beautiful the content may be, our time, because of it alone, will not put up with the ineptitude of the form; more than ever, it requires from the artist strict, deep teaching, mastery, complete mastery of the means of art, otherwise it recognizes the works as not artistic,” he wrote.

An important feature of Stasov’s critical method is its historicism. He never considered new phenomena of artistic culture without looking back at the history of art. He well understood the enormous determining significance of the surrounding social life in the formation of the art of a particular era and at the same time took into account the role of the internal connection of the phenomena of art. Thus, considering the art of the Peredvizhniki as the brainchild of the social upsurge of the 60s and 70s, he sees in the artist a kind of predecessor of this direction. And in turn to Great Russian artist, founder of critical realism. Painter, graphic artist. Master of genre painting. Born on June 22, 1815 in Moscow, in the family of a poor official. I studied in the 1st Moscow Cadet Corps, all my free time... Stasov draws creative threads from the small Dutch and the English artist of the 18th century Gogarth.

Considering each new work of the artist, Stasov analyzes it in connection with the previous works of this master, thus determining his creative path. This gives the critic the opportunity to always note the growth and further development of artists, to note the emergence of new features in their work.

Stasov's criticism was distinguished by the breadth of its coverage of cultural phenomena. He understood fine art in close connection with literature, architecture and music. Stasov, for example, saw in Russian literature the “older sister” of fine art, more advanced and developed. Therefore, comparing painting with literature sounded like high praise from Stasov.

« - a realist, like Gogol, and just as deeply national as he is. With unparalleled courage among us... he plunged headlong into the entire depth of people’s life, people’s interests, people’s pressing reality,” Stasov said in connection with the appearance of Repin’s “ . 1872—1873 Oil on canvas, 131.5×281 cmState Russian Museum».

Analyzing individual works Russian artist. Son E.I. Makovsky and the artist’s brother. He received medals from the Academy of Arts: in 1864 - 2 silver medals; in 1865 - 2 silver medals for the painting "The Artist's Workshop"; V..., Stasov compares them with the works of Ostrovsky, works - with the works of Turgenev, individual Repin paintings - with the works of Pushkin, etc. Stasov in a number of cases compares works of painting and sculpture with works of music. For example, he wrote a large special article about The largest artist of the second half of the twentieth century, a representative of critical realism. A wonderful portrait painter, author of paintings on historical and biblical themes.... and Mussorgsky, in which he draws a parallel in their work and considers both artists as sons of the era of social upsurge of the 60s.

As a particularly positive feature of Stasov’s critical activity, one should note his everyday friendly and comradely assistance to artists. Vladimir Vasilyevich was a critic-friend, comrade, advisor to artists and helped their creative growth in everything he could. Stasov gave artists numerous references and advice on various areas of knowledge in connection with the creative tasks they faced. When Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, headed the workshop, was the rector of the Academy of Arts. Author of the book of memoirs "Distant Close". Among his students... paints a picture " . 1972 Oil on canvas Moscow State Conservatory Moscow", Stasov selects biographical material for him about the characters in the picture; When Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, headed the workshop, was the rector of the Academy of Arts. Author of the book of memoirs "Distant Close". Among his students... working on " . 1879 Oil on canvas, 204.5 x 147.7State Tretyakov Gallery", Stasov finds him ancient images of Sophia. During work above the statue . 1882 Marble State Russian Museum“Stasov tirelessly helps him with his information about the life, costumes, utensils, and customs of Holland in the 17th century. Being well acquainted with the librarians of the largest book depositories in the capitals of European states, Stasov constantly turns to them in order to find the material needed for his artist friends from rare editions. Under the influence of Stasov’s friendly instructions and advice, they were created by artists, including Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, headed the workshop, was the rector of the Academy of Arts. Author of the book of memoirs "Distant Close". Among his students..., many outstanding works of Russian painting and sculpture. According to Stasov's instructions Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, headed the workshop, was the rector of the Academy of Arts. Author of the book of memoirs "Distant Close". Among his students... significantly remade and improved his picture " . 1884—1888 Oil on canvas, 160.5x167.5State Tretyakov Gallery" The artists deeply appreciated and respected this friendship of the critic, sharing with him their creative plans, impressions and thoughts.

To the workshop Famous Russian artist, master of battle painting. In 1860 he entered the St. Petersburg Academy of Arts, but left it in 1863, dissatisfied with the teaching system. Attended the workshop of Jean Leon Gérôme at the Paris School of Fine Arts (1864)...., where access was closed to everyone, Stasov had free entry. The letters from artists addressed to him express great gratitude to the venerable critic.

In his letter to Stasov The most prominent sculptor of the second half of the 19th century. For the statue "" the artist was awarded the title of academician. Corresponding member of the Paris Academy. Awarded the Order of the Legion of Honor. Honorary member of many Western European... said (1896): “I am proud of the friendship of such a great citizen as you, who carried within himself such a great soul, whose soul is enough for everyone and everything that is dear to Russian art and humankind in general. But I wanted to tell you this: my triumph yesterday was won by you, and won victoriously, with glory.”

At the same time, Vladimir Vasilyevich’s criticism was distinguished by its directness. Even in relation to the artists closest to him, whom the critic considered outstanding masters, Stasov did not betray this principle.

A positive feature of Stasov’s artistic criticism is its systematic nature. Speaking over the course of half a century of his activity on any significant event in the field of fine art, he did not ignore new works of artists, lectures on art, exhibitions, art education, new artistic societies, or critical speeches of newspapers. and magazines. Such systematic art criticism, based on a serious everyday study of artistic life, greatly increased its impact on society and contributed to the establishment of a strong connection between the author and artists and wider circles of society.

Stasov's articles were intended not only for specialists, but also for the general public. They are distinguished by their simplicity, imagery, accessibility and excitement, and often contain folk sayings and proverbs.

In his polemical speeches, images taken from literature are constantly cited. For example, addressing artists who are moving away from ideological realism and national themes in art towards academicism, Stasov said that they are defectors, like “Andriy Bulba in a foreign camp, in the arms of a beautiful Polish woman, having forgotten duty, shame, and honor , and the truth."

He is witty and knows how to turn his opponent’s arguments into an evil caricature of him. So, for example, fighting for the free choice of topics for theses by students graduating from the Academy of Arts, Stasov, objecting to an article by the rector of the Academy Bruni, whom he calls “the lawyer of the Academy,” writes: “The lawyer of the Academy” continues to imagine that there is no way to decide who is between students deserve some kind of reward, if you don’t put them on the same topic. Why? He is thus paying a very bad compliment to the Academy; he seems to be asserting that academic specialists are only able to judge between objects of exactly the same content, and as soon as this content is different, they will immediately become confused. After this, is it really possible to decide only which of the two peaches is better, and if the question is which is better: a good peach or a bad turnip, then we must already run aground.”

In a polemic with the reactionary newspaper “Novoye Vremya”, which absurdly tried to “debunk” the Wanderers by comparing their work with the works of Leo Tolstoy, Stasov wrote: “The references to Count Leo Tolstoy are also very good... Count Leo Tolstoy has now already addressed the writer of “New time” with a mallet to hit those you don’t like over the heads. Who doubts that Leo Tolstoy is a great writer? But who said that everyone should create their works only in his manner and not take a step to the side? Whatever he has, be sure to give it to him, but if he doesn’t give it, it’s a slap on the head. Why, why aren't you Leo Tolstoy? Both simple and smart."

Stasov, like the “artel workers” and the Wanderers inseparable from him, spoke out with a bold, full of militant democracy, criticism of the old, outdated, feudal-serf world. This was the strong point of Stasov's work. But he did not see clear ways to transform society. He proceeded only from one ardent desire for a “reasonable” and “natural” life, he proceeded from faith in a happy future for humanity. With the development of society and the increasing complexity of social relations, Stasov could not understand many phenomena of the surrounding life. In this regard, many artistic phenomena of the 90s and 900s remained ununderstood for the critic. Having been a leading democratic art critic for several decades and exerting a huge influence on the development of art in the era of reforms and the post-reform period, Stasov in the 90s lost to a certain extent his former influence on the fate of art, although his passionate speeches in defense of ideological realistic art against mysticism , symbolism and formalism were correct and progressive until the end of their lives.

In its heyday, Stasov's criticism was full of a sense of civic duty. She nurtured the growing national art. She developed love for him, and through him for the homeland, among the broad masses of Russian society. She participated in the democratic movement of the era and ardently fought with her means for the vital interests of the broad masses. Stasov was not only a critic of works of music, painting and sculpture, but also an outstanding expert on the history of art, in particular the history of applied and decorative arts. He created a major work on the history of ornament. His archaeological research into ancient images in Crimean caves is of great interest to science.

The memory of Stasov is dear to our people. Repin was right when he predicted that the significance of the outstanding critic would be appreciated in the future.

“This man is a genius in his make-up, in the depth of his ideas, in his originality and sense of the best, the new, his glory lies ahead,” he wrote Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, headed the workshop, was the rector of the Academy of Arts. Author of the book of memoirs "Distant Close". Among his students... about Stasov. “But many years later, when the original creations of Dargomyzhsky, Mussorgsky and others, who are still covered with the dung of routine, emerge more and more, people will turn to Stasov and will be amazed at his insight and correct statements about the undoubted merits of the creations of art.”

Words Great Russian artist, painter, master of genre and historical painting, portrait painter. Teacher, professor, headed the workshop, was the rector of the Academy of Arts. Author of the book of memoirs "Distant Close". Among his students... came true. In the Soviet era, Stasov was highly regarded and appreciated.

Stasov's critical activity represents a rich heritage that needs to be deeply studied in the interests of the development of Soviet art and our artistic culture.