"Hunters at Rest"- a painting by the Russian Itinerant artist Vasily Grigorievich Perov, painted in 1871 and dating back to the late period of the artist’s work.
The plot of the picture
The painting depicts three hunters having a conversation with each other. The main feature of the picture is the psychological portraits of the heroes: one of them (on the left) is an elderly, experienced hunter, apparently from the impoverished nobles, talking with enthusiasm and passion about his hunting “exploits”, the second (in the background) is middle-aged, in a Russian peasant clothes, distrustfully and with a grin listening to the hunting tales of his interlocutor, the third (on the right) is a gullible young newcomer, dressed “to the point”, listening with trepidation to the tales of the first hunter, who so confused him that he even forgets to light a cigarette in his right hand with one prepared in his left with a twinkle.
This entire scene takes place against the backdrop of a rather gloomy autumn landscape, which adds a disturbing tone to its comic content.
Also curious is the combination in the painting of a genre everyday painting, a landscape, and a still life of hunting items and game.
"Prototypes" of the characters in the picture
In the role of the narrator, Perov portrayed D.P. Kuvshinnikov, a well-known doctor in Moscow and a great fan of gun hunting. After the painting was painted in 1871 and exhibited at the first traveling exhibition, the name of Dmitry Pavlovich Kuvshinnikov became popular in literary, artistic and theatrical circles. His apartment in Maly Trekhsvyatitelsky Lane became a place where writers, artists, and performers gathered. V. G. Perov, A. P. Chekhov, I. O. Levitan often visited here.
One of D. P. Kuvshinnikov’s friends was a doctor and amateur artist Vasily Vladimirovich Bessonov. In 1869, Perov painted a portrait of Bessonov, which was later exhibited at the World Exhibition in Paris along with the canvas “Hunters at a Rest.” Doctor V.V. Bessonov became the prototype of the skeptic hunter.
In the image of a young hunter, the author of the picture portrayed 26-year-old N.M. Nagornov, a friend and colleague of Kuvshinnikov and Bessonov. In 1872, Nikolai Mikhailovich married Varvara Vasilievna Tolstoy, the niece of the great writer. In the early 90s of the 19th century, Nagornov became a member of the Moscow city government.
This is who of his Moscow friends V. G. Perov captured in the images of “Hunters at Rest”. This is confirmed in her memoirs by Anna Nikolaevna Volodicheva, the daughter of N.M. Nagornov. In November 1962, she wrote to art critic V. Mashtafarov, who studied the work of V. G. Perov and other artists:
“D.P. Kuvshinnikov was one of my father’s closest friends. They often went bird hunting. My father had a dog, and so the following people gathered with us: Dmitry Pavlovich, Nikolai Mikhailovich and Doctor Bessonov V.V. They are depicted by Perov (“Hunters at a Rest”). Kuvshinnikov D.P. talks, father and Bessonov listen. Father - attentively, and Bessonov - with distrust ... " Critics
Reviews from critics were mixed. So, if Stasov highly appreciated the picture and compared it with Turgenev’s hunting stories, then Saltykov-Shchedrin criticized it: the writer thought the faces of the characters were too artificial. Fyodor Mikhailovich Dostoevsky also mentioned the painting in his diaries:
The picture has long been known to everyone: “Hunters at rest”; one lies ardently and deliberately, the other listens and believes with all his might, and the third does not believe anything, lies down right there and laughs... What a delight!<…>We can almost hear and know what he is talking about, we know the whole turn of his lies, his style, his feelings. Notes
Categories:
- Pictures in alphabetical order
- Paintings from 1871
- Paintings from 1877
- Paintings by Vasily Perov
- Paintings from the collections of the State Tretyakov Gallery
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See what “Hunters at Rest” are in other dictionaries:
- “Hunters” is the name of a number of animated films: Hunters (cartoon, 1968) Hunters (cartoon, 1977) See also Hunter (cartoon) Hunter Fyodor (cartoon) Hunter to fairy tales (cartoon) Hunter and his son (cartoon) Hunter on ... ... Wikipedia
This page needs significant revision. It may need to be Wikified, expanded, or rewritten. Explanation of reasons and discussion on the Wikipedia page: Towards improvement / October 3, 2012. Date of setting for improvement October 3, 2012 ... Wikipedia
Vasily Grigorievich Perov ... Wikipedia
Perov Vas. Grieg- PEROV you. Grieg. (1833/34 82) painter. Studied at the Arzamas school of painting by A.V. Stupin (1846-49, with interruptions), at the Moscow School of Painting and Painting. school of painting, sculpture and architecture (1853-61). He was a pensioner of the Academy of Arts abroad (1862-69). In production 1860s... ... Russian humanitarian encyclopedic dictionary
Vasily Grigorievich, Russian painter. He studied at the Arzamas school of painting by A. V. Stupil (1846 49; with interruptions) and in... ... Great Soviet Encyclopedia
- (1833/1834 1882), Russian painter. He studied at the Arzamas school of painting by A. V. Stupin (1846-49, with interruptions) and at the Moscow School of Painting and Painting (1853-61; taught from 1871). Pensioner of the Academy of Arts (1862 69, until 1864 in Paris). Founding member of TPHV (see Peredvizhniki).... ... Art encyclopedia
Vasily Perov is a famous Russian genre artist of the second half of the 19th century. One of the artist’s most famous paintings is “Hunters at Rest,” painted in 1871. Why did this particular painting become so popular, where are the author’s repetitions from “Hunters at Rest” stored, and how is one of the characters in the painting connected with the writer Leo Tolstoy?
Interestingly, Vasily Perov was skeptical about his painting and did not highly value his work, unlike his contemporaries. For example, about the painting “Hunter at Rest,” Fyodor Dostoevsky wrote: “The painting has long been known to everyone; one lies ardently and deliberately, the other listens and believes with all his might, and the third does not believe anything, lies down right there and laughs... What a delight!<…>We can almost hear and know what he is talking about, we know the whole turn of his lies, his style, his feelings.”
Vasily Perov “Hunters at a rest”, 1871
Vasily Perov managed to create a masterpiece. In one painting, “Hunter at Rest,” which the artist intended as an anecdote, he combines several painting genres at once: an everyday scene, a landscape, a still life. In the center against the backdrop of autumn fields are three hunters. An elderly, poor nobleman talks animatedly about his hunting exploits. The young man listens to him trustingly, but is so carried away by the story that he forgets to light a cigarette. And the peasant, reclining in the center, only grins ironically - he has already heard enough of such stories.
The artist depicted his friends in the picture. The narrator is doctor Dmitry Kuvshinnikov. By the way, after the painting was exhibited at the first traveling exhibition, the name Kuvshinnikov became popular in literary, artistic and theatrical circles. Writers and artists often gathered at his house, among them Chekhov, Levitan and others. The skeptic hunter is another friend of Perov, a doctor and amateur artist Vasily Bessonov. The prototype of the young hunter was the 26-year-old doctor Nikolai Nagornov, who later married Varvara Tolstoy, the niece of the great writer. It turned out that three doctors became hunters.
The original painting “Hunters at a Rest” (oil on canvas 119x183) is kept in the Tretyakov Gallery. In 1877, the artist painted a smaller original copy, which is kept in the Russian Museum in St. Petersburg. There were legends that Perov made three paintings of Hunters at Rest. The third option was found in Nikolaev in Ukraine. For more than 20 years, employees of the Nikolaev Regional Art Museum named after. V. Vereshchagina were sure that the painting in their collection was an excellent copy, because in Soviet times Perov’s masterpiece was very popular, a huge number of copies and reproductions of “Hunters” appeared. However, in 2004, the museum was visited by Kiev restorer Nikolai Titov, who stated without a doubt that the canvas and paints belonged to the 19th century. The painting was sent for research, during which art critics found out that it was a repetition by the author. After restoration, a copy of “Hunters at Rest” was included in the main exhibition of the museum.
REFERENCE
The artist Vasily Perov had a difficult fate. He was the illegitimate son of the provincial prosecutor Baron Georgy Kridener. The exact date of birth of the artist is not known - January 2 or 4, 1833. And although after Perov’s birth his parents got married, Vasily could not bear his father’s surname. For a long time, the documents indicated the surname “Vasiliev”, given by the name of the godfather.
After the baron's resignation, his family moved to Samara province. Here little Vasily was sent to study with a sexton. He made the greatest progress in penmanship, for which he received the nickname Perov, which stuck to him for the rest of his life.
Ivan Kramskoy “Portrait of Vasily Perov”, 1881
Vasily wanted to study painting, but his parents resisted this for a long time. Ultimately, Perov left for Moscow in 1852 and entered the School of Painting and Sculpture. In 1862, the artist married Elena Shanes and went with his family to Paris at the expense of the Academy. But two years later the artist returned to his homeland; he was not close to the genre scenes of French life. Perov was more interested in the life of ordinary people in Russia. In the 1860s, he created paintings in which he revealed the contradictions of modern life - “Troika”, “Seeing off a Dead Man”, “Scene at the Post Station” and others. In them he tried to show the plight of hired workers.
Vasily Perov “Troika”, 1866
In 1869-1870, a tragedy occurred in the artist’s life that influenced his work. Perov’s wife and two children died from the epidemic, only his son Vladimir survived. The painter began to depict a simple person, his joys of everyday life. The artist’s passion for hunting was reflected in several paintings - “Fisherman”, “Birder” and others. In addition to paintings on everyday themes, Vasily Perov created historical paintings and portraits of Dostoevsky, Ostrovsky and his other contemporaries.
Vasily Perov “Portrait of F. M. Dostoevsky”, 1872
In 1872, Perov married again. Towards the end of his life, Vasily Georgievich began to study literature and wrote stories. Vasily Perov died of consumption in 1882 in Moscow. The artist was buried in the monastery cemetery in the Danilov Monastery. The painter's son from his first marriage, Vladimir Perov, also became an artist.
The publication uses materials from the encyclopedia “Treasures of Russian Museums” and from the official website of the Nikolaev Art Museum. V. Vereshchagin.
Hunters at rest - Perov. Canvas, oil. 119 x 183
There is a period in Perov’s work when the master avoids acute social scenes. He turns to life simple, ordinary, familiar. Among these works, the most familiar is the painting “Hunters at Rest”.
In the center of the composition are three hunters, very different, but each of them is interesting and meaningful in its own way. The attention of two listeners was attracted by the passionate and fascinating story of an older, experienced hunter. In his posture, facial expressions, and eyes, there is a holy faith in the “truth” of the story that he decided to tell his comrades. Listeners react to the story differently. The young hunter eagerly absorbs every word of his experienced comrade, the third participant - a middle-aged man - is skeptical, he questions every word of the narrator.
If you carefully consider the composition proposed by the author, the idea becomes clear. The artist showed a certain life cycle: youth, eagerly exploring the world, absorbing it with faith in miracles; then comes maturity and experience, when nothing is taken for granted and is questioned; maturity is replaced by old age, living in memories, constantly falling into the idealization of the past.
Behind the simple and clear work there is a deep, philosophical, complex content. Critics noted the squalor and tension that characterize the surrounding landscape. An anxious sky, flying birds, faded grass - everything speaks of autumn, falling asleep, a premonition of winter. Why did the artist choose such a gloomy landscape to frame his painting? Most likely, it was important for the author to concentrate the viewer’s attention on the central figures of the picture; the background should not distract from the main thing in the work.
The heroes of the picture are real people, friends of the artist, who served as prototypes for the hunters. As you know, the author himself loved hunting. Therefore, every detail of the picture is painted with skill. In the lower left corner of the picture we see a delightful hunting still life, which, on the one hand, fits organically into the overall composition, on the other hand, could well be separated into a separate work, written with remarkable skill and realism.
The light in the picture concentrates on the faces and hands of the characters. This old technique, dating back to the Renaissance, allows the artist to more fully reveal the inner world of his models. All hunters are clearly satisfied with the results of the hunt, as evidenced by the trophies depicted here. The artist depicted people of different social origins, but all of them were united by hunting, made them forget about the realities of life and completely surrender to the ancient craft.
Interestingly, the artist again turned to this plot and created another painting for the Russian Museum. The second version of the plot is more schematic, simpler, and the color scheme is simpler.
It is known that some critics accused the artist of expressing overly feigned emotions in the characters he depicted. However, having unraveled the author's intention, this can be considered completely justified. This technique allows you to more clearly describe the character and inner world of the characters and reveal the symbolic component of the picture.
Around this picture Vasily Perov from the moment of its appearance, serious passions burned: V. Stasov compared the canvas with the best hunting stories of I. Turgenev, and M. Saltykov-Shchedrin accused the artist of excessive theatricality and unnaturalness of the characters. Besides, in "Hunters at Rest" everyone easily recognized the real prototypes – Perov’s acquaintances. Despite mixed reviews from critics, the film became incredibly popular.
Vasily Perov himself was a passionate hunter, and the topic of hunting was well known to him. In the 1870s. he created the so-called “hunting series”: the paintings “Birder”, “Fisherman”, “Botanist”, “Dovekeeper”, “Fishing”. For “Birdcatcher” (1870) he received the title of professor, as well as a teaching position at the Moscow School of Painting, Sculpture and Architecture. But the most striking and recognizable in this cycle was certainly the painting “Hunters at Rest.”
The canvas was exhibited for the first time at the 1st Traveling Exhibition and immediately evoked mixed responses. The critic V. Stasov admired the work. M. Saltykov-Shchedrin criticized the picture for the lack of spontaneity and life truth, for the pretense of emotions: “It’s as if when the picture is shown there is some actor whose role instructs him to speak aside: this is a liar, and this one is gullible, inviting the viewer not to believe the liar hunter and have fun at the gullibility of a novice hunter. Artistic truth should speak for itself, and not through interpretation.” But F. Dostoevsky did not agree with the critical reviews: “What a delight! Of course, to explain it, the Germans will understand, but they won’t understand, like we do, that he is a Russian liar and that he is lying in Russian. We can almost hear and know what he is talking about, we know the whole turn of his lies, his style, his feelings.”
The prototypes of the hunters were real people, acquaintances of Vasily Perov. The role of the “liar”, enthusiastically telling tall tales, was played by doctor Dmitry Kuvshinnikov, a great fan of gun hunting - the same one who served as the prototype for Doctor Dymov in Chekhov’s “The Jumper”. Kuvshinnikov's wife Sofya Petrovna was the owner of a literary and artistic salon, which was often visited by V. Perov, I. Levitan, I. Repin, A. Chekhov and other famous artists and writers.
In the image of an ironically grinning hunter, Perov portrayed the doctor and amateur artist Vasily Bessonov, and the prototype for the young hunter, naively listening to hunting tales, was 26-year-old Nikolai Nagornov, a future member of the Moscow city government. This is confirmed in her memoirs by A. Volodicheva, Nagornov’s daughter. In 1962, she wrote to art critic V. Mashtafarov: “D. P. Kuvshinnikov was one of my father’s closest friends. They often went bird hunting. My father had a dog, and so the following gathered with us: Dmitry Pavlovich, Nikolai Mikhailovich and Doctor Bessonov V.V. They are depicted by Perov (“Hunters at a Rest”). Kuvshinnikov talks, father and Bessonov listen. Father - attentively, and Bessonov - with disbelief...”
Of great importance in this work are the gestures of the characters, with the help of which the artist creates psychological portraits of his heroes: the outstretched hands of the narrator illustrate his “terrible” story, the grinning commoner scratches his head in disbelief, the left hand of the young listener is tensely clenched, the right hand with the cigarette is frozen, which gives away the enthusiasm and simple-minded horror with which he listens to fables. The hunters' prey depicted in the lower left corner could well have become an independent still life with game, but the artist deliberately focused all his attention on the faces and hands of the characters, highlighting these accents with bright light.
"Hunters at Rest" (1871)
When I tell you my True Tales, I remind myself of a left-wing hunter, and my friends - both distrustful, like the average one, and heeding, like the right one.
The picture is known to absolutely every resident of our country. It is in textbooks, on the walls of many houses, even on candy wrappers. We know it by heart. Still, I’ll tell you a couple of points that you may not know.
"To be fully an artist, one must be a creator; and in order to be a creator, you need to study life, you need to educate your mind and heart, educate not by studying official models, but by vigilant observation and exercise in reproducing types and their inherent inclinations... By this study, you need to tune the sensitivity to perceive impressions in such a way that not a single object rushed past you without being reflected in you, as in a clean, correct mirror... An artist must be a poet, a dreamer, and most importantly, a tireless worker... Anyone who wants to be an artist must become a complete fanatic, living and feeding on art alone and only art.” .
V.G.Perov "Our teachers"
Vasily Grigorievich Perov was born on January 4 (December 23, old style) 1833 in Tobolsk, in the family of the provincial prosecutor Baron Grigory Karlovich Kridener. The boy was illegitimate; his parents got married later. All his younger brothers received the titles of barons and the surname Kridener, Perov received the surname of his godfather - Vasiliev, later the artist changed it to the nickname "Perov", given in childhood for his success in penmanship. The boy's real father, Baron G.K. Kridener, was a liberal, educated man, played the piano and violin, knew several foreign languages and even wrote poems. It was the latter that became the reason that some time after the birth of Vasily, the baron was dismissed for free-thinking poems.
Let's return to the picture now.
And Perov did not write it alone, but in tandem with another famous artist - Alexei Savrasov. They taught together at the Moscow School of Painting, Sculpture and Architecture. We don’t know Savrsov’s share, but there is an interesting point.
Perov wrote two versions of “Hunters at a Rest”: the first is kept in the Tretyakov Gallery, and the second in the Russian Museum. Perov writes the second version a few years later. Did he turn to Savrasov again?
And the hunters all turn out to be real people! Friends of the artist.
The doctor Dmitry Kuvshinnikov was depicted in his famous painting “Hunters at a Rest” by the artist V.G. Perov. The hunter-storyteller on the left is him. The other two characters in the picture are based on Kuvshinnikov’s friends: the skeptic hunter is a doctor and amateur artist Vasily Vladimirovich Bessonov, and the young hunter is Nikolai Mikhailovich Nagornov, a relative of Lev Nikolaevich Tolstoy (he was married to his niece, Varvara Valerianovna Tolstoy).
http://proekt-wms.narod.ru/moscow/2_4.htm
The audience really liked the film, but some celebrities sharply criticized it.
They didn't like unnaturally exaggerated emotions
M. E. Saltykov-Shchedrin criticized the picture for its lack of spontaneity: “It’s as if when the picture is shown there is some actor present, whose role instructs him to speak aside: this is a liar, and this is a gullible one, inviting the viewer not to believe the liar hunter and have fun at the gullibility novice hunter."
The landscape in the film is written much better; compositionally it is closely related to the characters. There is something alarming in the surrounding nature - in the piercing wind, in the withered autumn grass, in the gloomy horizon. The sky is overcast and a thunderstorm cannot be avoided.
The most striking figure is, of course, the elderly hunter on the left, passionately telling his companions about his hunting adventures. The second hunter, who is in the middle, middle-aged, listens to the elderly hunter with a grin, scratches his ear, one might say that the narrator is clearly making him laugh with another tale, and he clearly does not trust him, but at the same time he is still interested in listening. The young hunter, on the right, listens attentively and trustingly to the stories of the old hunter; it is likely that he himself also wants to tell something about his hunt, but the old man clearly does not allow him to say a word.
I am not a hunter, but a friend is a hunter, he told me that there are many inaccuracies in the picture.
The dog in the background is apparently a setter, and they don’t hunt hares with cops. The black grouse is lying right, this is his prey, but there is also a horn in the picture, and it is used only when hunting with hounds. In addition, when hunting for black grouse is open (and, by the way, it is found in the forest, not in the field), hunting for the hare is closed. But I don’t know whether hunting was opened in that century. He also said that a self-respecting hunter would not throw his gun like that - the barrel would become clogged and the trigger would break. These are the grumblings from the modern hunter.
I found this story about the painting on the Internet, but I lost the link. But read:
“Hunters at a Rest” is one of the most popular paintings by the outstanding artist of the second half of the 19th century, Vasily Grigorievich Perov.
Until recently, it was believed that the artist painted two versions of this painting. But there is an assumption that the author created three paintings “Hunters at Rest”. And one of them was kept in the Nikolaev Museum as a copy for 22 years...
The most famous painting by Vasily Perov in the century before last made a splash at an exhibition in Europe along with Repin’s “Barge Haulers on the Volga.” After the exhibition, the painting was bought by the famous collector Tretyakov, the artist wrote a second version for the Tsar, and now it is in the State Russian Museum in St. Petersburg. Sensation - the third version of the “hunters” was discovered in the Nikolaev Regional Museum.
The canvas was studied for two years. The picture was painted without a sketch in pencil, but immediately with paints - this is exactly the manner in which Vasily Perov worked. The “Nicholas” painting is the same size and was painted in the same year, 1871, as the work that is kept in the Tretyakov Gallery. And the version that Perov wrote for the Tsar and which is kept in St. Petersburg was created later - in 1877 - and is smaller in area.
Kyiv restorers presented the research results to the Tretyakov Gallery. They agreed with the conclusions of experts from the National Academy of Arts; Perov's authorship is still under consideration.
It still remains a mystery who the artist Perov really was? Critical realist, Wanderer V.G. Perov was a friend of almost all the outstanding painters of his time.
He had eccentricities, which perhaps explain how Perov could paint such a painting as “Hunters at Rest” in the 19th century. The picture is literally stuffed with encrypted messages, mathematical formulas and prophetic predictions.
Many years ago, employees of the Russian Museum noticed that female caretakers gathered at the end of the working day in the Perov Hall, not far from the Hunters at Rest. The work was re-done several times, but the result was the same. And the caretakers, museum visitors, and excursions most often grouped and spent time near this painting.
Some research was done that revealed a real anomaly. The air temperature in this painting was always 2.6 - 2.8 degrees higher than in the other halls. The mechanical clock in Perov’s painting slowed down, and the quartz mechanisms began to lose rhythm and even stopped. The picture also had a strange effect on people.
The canvas was subjected to infrared radiation and x-rays. The photograph showed an image of three men who very much resembled someone. The photo was published and...the Yalta Conference arose! On the left, slightly leaning forward, sat Joseph Stalin and convincingly proved something. Opposite him, with his hands on his paralyzed legs, sat Roosevelt, and between them, looking skeptically at Stalin, lay Winston Churchill. Having superimposed a transparent map of Europe on the picture, the experts were amazed. Stalin's hands accurately indicate the opening line of the second front, while his right hand rests on the coast of Normandy, where the Allied landing took place a little over seventy years later.
If we calculate the percentage of the area occupied by the three figures of hunters to the total area of the picture, then we will get the exact percentage of the total share of the three countries of England, America and Russia in the production of weapons in relation to the rest of the world in 1945! The killed game in the right corner of the picture, outlined in a single line, strangely resembles the outlines of defeated Japan. And if we connect the eyes of three hunters with the same line, we will get the exact geometry of the Bermuda Triangle.
Perov ideally positioned his characters according to the parts of the world in relation to the gun, which lies slightly to the right and below the center of the picture and signifies the equator. This is the first thing that catches your eye...
