When he was 16, he worked as a color correction artist for a Kharkov (Ukraine) photographer. Kramskoi kept on working to the very end.

“Seriously pursuing Christian ideas” for the artist did not mean at all to affirm the dogmas of official Orthodoxy, it was a desire to advocate genuine morality, humanity. Thus, the artist puts in the spotlight Shchedrin’s face, his high forehead, the mournfully lowered corners of his lips, and, most importantly, the demanding questioning look inherent only to him.

Fingers are not drawn, only outlined by several precise, dynamic strokes. At times he turned to a way of painting that comprised portrait and life painting: as in “The Stranger” (1883) and “Desolate Grief” (1884). What eyes! The young artists’ protest found a sympathetic response in democratic circles. The practice of traveling exhibitions opened up the possibility of direct communication between artists and a wide audience, while raising the most pressing issues of our time. He started as a talented retoucher of photography and became a great portraitist of his era. Nowhere and never was there any other art, and if the so-called universal human art exists, it is only due to the fact that it was expressed by a nation that stood in front of universal human development.
In his autobiography, some bitterness is felt, but at the same time the legitimate pride of a man who has escaped from the "lower classes" and has become in line with the most prominent figures of his time. The need to prove that, according to the ideas of Chernyshevsky, “the human person is the highest beauty in the world, accessible to our senses,” aroused in Kramskoy a keen interest in “human physiognomy”. Kramskoy began to mature as a portraitist. Lev Tolstoy wrote to Pa­vel Tretyakov: ‘This is the best Christ I know.’. His legs are wounded on sharp stones, the figure is bent, his hands are painfully clenched. The portrait of A. D. Litovchenko is without a doubt one of Kramskoi’s greatest creative successes. Give me a year of living on trial.

Evidence of this is the unfinished picture "Laughter" for many years, the very idea of which no longer corresponded to the needs of the community. ”. With this method, he drew portraits of the artists Morozov (1868), Shishkin (1869), Myasoedov (1861), Chistyakov (1861) and Koshelev (1866). The main objective of the Partnership was the development of art. Here he received news of the death of his young friend, the landscape-painter FyodorVa- siliev. A little “eroding” the moving contour outlining the figure, Kramskoy emphasized the natural ease of his model. More­over, Kramskoi served as the prototype for the artist Mikhailov in the novel Anna Karenina. The woman is not so …

Portrait S.N. Kramskoi always demanded a high level of formal perfection. Transition. “In essence, I never loved portraits, and if I did it tolerably, it was only because I loved and love the human physiognomy… I became a portrait painter by necessity,” wrote Ivan Nikolaevich. The mos expressive of all the portraits painted a this time was the oval Self-Portrait (1867 TRETYAKOV GALLERY, MOSCOW)—a vivid image of Kramskoi the man artist and teacher ‘Just look at him!’ wrote Ilya Repin. “We filed a request twice, but the Council did not find it possible to fulfill our request; "we, not considering ourselves in the right to insist anymore and not daring to think about changing academic decisions, ask us to humbly free us from participating in the competition and give us diplomas for the title of artists.". ‘I have con­fidence in Russian art: I know that sooner or la­ter it will gain wide respect.’. And in the winter of 1876, Ivan Nikolaevich became especially close to the family of the collector, working on portraits of Tretyakov’s wife Vera Nikolaevna, and Pavel Mikhailovich himself, in whom he always saw not a merchant, but an intellectual and a true patriot of Russian national culture, who firmly believed that “the Russian school of painting not the last will be. " The abolition of hated serfdom was just around the corner, and progressive Russia not only lived on the expectation of future changes, but also contributed to them in every way. There is no action in the picture, but the viewer seems to feel the life of the spirit, the work of the thoughts of the son of God, solving for himself some important issue. One of the two portraits created by the artist was also intended for the Tretyakov collection and was created from 1877 to 1879, undergoing endless alterations. So his cherished dream came true, and I must say that he studied Kramskoy very diligently, worked hard on the drawing, whose culture was very high at the Academy, he successfully worked on sketches for historical and mythological subjects, receiving all the awards. But the career of a successful artisan could not satisfy him. Antokolsky, S.T. In a small portrait of 1876, characterized by a certain "chamber" of artistic decision, Kramskoy tried to express the social significance of the person portrayed. The compositional and semantic center of the canvas is the image of a woman full of drama. May 27), 1837, Ostrogozhsk – April 6 (O.S. It only helps the artist deepen the inner drama of his hero. It was the comprehension of Tolstoy’s powerful intellect that became the main goal and, of course, represented the main difficulty that the artist encountered in this work. The great idea of ​​creating the TPHV, which played a large role in the life of Russian art, belonged to a group of prominent Moscow and St. Petersburg artists, and the famous genre writer G. G. Myasoedov was the direct initiator of the initiative. . All rights reserved. Which moment? Evidence of this is the unfinished picture "Laughter" for many years, the very idea of ​​which no longer corresponded to the needs of the community. In the sixties ht painted his wife, Sofia Kramskaya. Apparently, at first the master portrayed the terminally ill poet as lying down, then rebuilding the composition, for greater expressiveness. For Pavel Tretyakov, Kramskoi painted a gallery of figures from Rus­sian cultural life: Ivan Goncharov (1874, TRETYAKOV GALLERY, MOSCOW), Yakov Polonsky (1875, TRETYAKOV GALLERY, MOSCOW), Pavel Melnikov- Pechersky (1876, TRETYAKOV GALLERY, MOSCOW), Sergei Aksakov (1878, TRETYAKOV GALLERY, MOSCOW), Mikhail Saltykov-Shchedrin (1879, TRETYAKOV GALLERY, MOSCOW), Pavel Tretyakov (1876, TRETYAKOV GALLERY, MOSCOW). Struck by the integrity of Tolstoy’s character, Kramskoi wrote, ‘I remember the pleasure of my first meeting with a man in whom all individual judg­ments are firmly linked to his general precepts, like spokes to a hub . In a let­ter to the writer Vsevolod Garshin, Krams­koi wrote that he had resorted to hierogly­phics, to the Gospel story, because for him Christ was a symbol of a man with a high sense of social duty. “This is not a portrait, but just a scene, drama!.. Christ in the Desert, or Christ in the Wilderness (Russian: Христос в пустыне, tr. It was like this: a month before now, we submitted a request for permission to choose a plot, but we refused our request… and decided to give a story to historians and a plot to genre writers who had originally chosen their own plots. Kramskoy. But how to tell? In the seventies and eigh­ties he achieved great success not only ir portraiture, but also in genre and historica painting. Kramskoy, peering into his own face, shows how over the years his composure and perseverance, developed by a difficult life and constant work, have increased. Arriving in St. Petersburg, Ivan Nikolaevich already enjoyed the fame of an excellent retoucher, which opened the door for him in the studio of the best metropolitan photographers I.F. Kramskoi had shown constant concern for him and more than once he had asked Tre­tyakov to subsidise the dying artist on the secu­rity of his paintings. “He sat so when the sun was still in front of him, sat tired, exhausted, at first he watched the sun, then did not notice the night, and at dawn, when the sun should rise behind him, he continued to sit motionless. His new friends, young artists, spotted his talent for drawing and advised him to study.

Feedback ”. Ivan Nikolaevich Kramskoy continued to work hard and hard. Where is peace? Ivan Nikolayevich KRAMSKOI (1837-1887) Time Period: 19 century Ivan Kramskoi has a place in the history of Russian culture as a talented portraitist, histori­cal and genre painter, theorist, teacher and fer­vent opponent of dogmatism in art, and as one of the leaders of the Society of Peredvizhniki. In one of the artist’s letters to his wife, we read: “… you not only do not bother me being an artist and comrade of my comrades, but even as if you yourself have become a true artisan…”. A pale, dressed in all white, seriously ill Nekrasov sits on the bed, completely lost in thoughts. Our range of actions has an embrace: portraits, iconostases, copies, original paintings, drawings for publications and lithographs, wood drawings, in a word, everything related to our specialty… Here is a program that is far from clear as you see… ". Continued in the next book. " - Kramskoy! The artist managed to write it sometimes only ten to fifteen minutes a day, but by March 30, 1877, the portrait of N. A. Nekrasov was completed. Sarabyanov described his impression. These paintings disclose their subjects' complex and sincere emotions, their personalities and fates. Having completed the picture, Kramskoy writes to Tretyakov that this portrait “came out really very similar”, speaking of his artistic features, the master emphasizes: “The painting… came out Murugha, and imagine - with intent.”.
He was an intellectual leader of the Russian democratic art movement in 1860-1880. Kramskoi’s years of study coincided with the rise of social-democratic thought in Russia. Add any text here or remove it. created some of his best works, including a series of portraits of prominent people of the time: Leo Tolstoy (1873), Nikolay Nekrasov (1877 and 1877-1878), Petr Tretyakov (1876) and Ivan Shishkin (1880), among others. Ivan Nikolaevich Kramskoi (Russian: Ива́н Никола́евич Крамско́й; June 8 (O.S.

Don’t you know? Ivan Kramskoy, 1837-1887 Ivan Nikolaevich Kramskoy — a famous Russian portrait painter, theorist of fine arts, one of the organisers and leaders of the Association of Travelling Art Exhibitions. It seemed to me that this is best suited to what I wanted to tell. Her strained straight figure, the mournful gaze of those who do not see eyes, the scarf brought to her lips, testifying to the barely restrained sobs, reveal the whole depth of her suffering. “While we are not seriously chatting about goodness, honesty, we are all in harmony, try to seriously implement Christian ideas in life, see how laughter rises around.


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