Viktor Vasnetsov short biography and creativity. Viktor Mikhailovich Vasnetsov

Viktor Mikhailovich Vasnetsov was born in 1848 on May 15 in the village of funny name Lopyal. Vasnetsov's father was a priest, as were his grandfather and great-grandfather. In 1850, Mikhail Vasilyevich took his family to the village of Ryabovo. This was due to his service. Viktor Vasnetsov had 5 brothers, one of whom also became famous artists, his name was Apollinaris.

Vasnetsov’s talent manifested itself from childhood, but the extremely unfortunate financial situation in the family left no options for how to send Victor to Vyatskoye religious school in 1858. Already at the age of 14, Viktor Vasnetsov studied at the Vyatka Theological Seminary. Children of priests were taken there for free.

Having never graduated from the seminary, in 1867 Vasnetsov went to St. Petersburg to enter the Academy of Arts. He had very little money, and Victor put up 2 of his paintings for “auction” - “The Milkmaid” and “The Reaper”. Before leaving, he never received money for them. He received 60 rubles for these two paintings a few months later in St. Petersburg. Arriving in the capital, young artist it was only 10 rubles.

Vasnetsov did an excellent job in the drawing exam and was immediately enrolled in the Academy. For about a year he studied at the Drawing School, where he met his teacher -.

Vasnetsov began studying at the Academy of Arts in 1868. At this time, he became friends with, and at one time they even lived in the same apartment.

Although Vasnetsov liked it at the Academy, he did not finish it, leaving for in 1876, where he lived more than a year. At this time, Repin was also there on a business trip. They also maintained friendly relations.

After returning to Moscow, Vasnetsov was immediately accepted into the Association of Traveling Art Exhibitions. By this time, the artist’s drawing style was changing significantly, and not only the style, Vasnetsov himself moved to live in Moscow, where he became close to Tretyakov and Mamontov. It was in Moscow that Vasnetsov came into his own. He liked being in this city, he felt at ease and performed various creative works.

For more than 10 years, Vasnetsov designed the Vladimir Cathedral in Kyiv. M. Nesterov helped him in this. It was after the completion of this work that Vasnetsov can rightfully be called a great Russian icon painter.

1899 became the peak of the artist’s popularity. At his exhibition, Vasnetsov presented to the public.

After the revolution, Vasnetsov no longer lived in Russia, but in the USSR, which seriously depressed him. People destroyed his paintings and treated the artist with disrespect. But until the end of his life, Viktor Mikhailovich was faithful to his work - he painted. He died on July 23, 1926 in Moscow, without finishing the portrait of his friend and student M. Nesterov.

Landscape backgrounds of V.'s works on fairy tales and historical topics imbued with a deeply national feeling native nature, sometimes remarkable for the lyrical spontaneity of her perception (“Alyonushka”), sometimes epic in character (“After the massacre of Igor Svyatoslavich with the Polovtsians”), played an important role in the development of Russian landscape painting. In 1883-85 V. completed a monumental panel " Stone Age"for the Historical Museum in Moscow, in 1885-96 - most of the paintings of the Vladimir Cathedral in Kyiv. In the paintings of the Vladimir Cathedral, V. tried to introduce spiritual content and emotionality into the traditional church system monumental painting, which in the 2nd half of the 19th century. came into complete decline. V. painting in the mature period, characterized by a desire for monumental and decorative artistic language, the muted sound of generalized color spots, and sometimes the appeal to symbolism, anticipates the “modern” style that later became widespread in Russia. V. also executed a number of portraits (A. M. Vasnetsov, 1878; Ivan Petrov, 1883; both in Tretyakov Gallery), illustrations for "Songs of prophetic Oleg"A. S. Pushkin (watercolor, 1899, Literary Museum, Moscow). Based on his drawings, the church and the fabulous “Hut on Chicken Legs” were built in Abramtsevo (near Moscow; 1883), and the facade of the Tretyakov Gallery was built (1902). IN Soviet time V. continued to work on folk fairy tale themes(“Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych”, 1918; “Kashchei the Immortal”, 1917-26; both paintings are in the V.M. Vasnetsov House-Museum in Moscow).
Lit.: Stasov V.V., Viktor Mikhailovich Vasnetsov and his works, in his book: Articles and Notes, vol. 2, M., 1954; Lebedev A.K., V.M. Vasnetsov. 1848-1926, M., 1955; Morgunov N., Morgunova-Rudnitskaya N., V. M. Vasnetsov, M., 1962.

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

Vasnetsov Viktor Mikhailovich short biography famous Russian artist is presented in this article.

Victor Vasnetsov short biography

Vasnetsov Viktor Mikhailovich was born on May 15, 1848 in the remote Vyatka village of Lopyal into a large family of a rural priest. Victor loved to listen since childhood folk tales and songs, legends. They instilled in the boy a love for Russian folk art.

The boy's talent manifested itself at an early age, but due to lack of money, he was sent to a theological school and then to a seminary. Children of priests were admitted there free of charge. However, the craving for art led the 19-year-old seminarian from Vyatka to St. Petersburg, to the Academy of Arts.

While studying at the Academy, the young artist worked a lot (as an engraver and draftsman, and collaborated with a number of St. Petersburg magazines). I created illustrations for the alphabet with great interest. But most of all the artist was captivated by thoughts about the heroic strength of Russian soldiers, about beauty, about freedom.

In 1876, Vasnetsov came to Paris at the invitation of Repin. At the exhibition the artist’s attention was attracted by big picture about fairy knights. And again he remembered his idea of creating a painting dedicated to Russian heroes.

In the summer of 1881, Vasnetsov wrote sketches in Abramtsevo and began working on the painting “Bogatyrs”. But only in 1898, Vasnetsov completed this picture.

Since 1893, Vasnetsov became a full member of the Russian Academy of Arts.

In 1899, Vasnetsov opened his first exhibition in Moscow, central work the painting “Bogatyrs” appears on it.

Comes from a family of clergy. Father Mikhail Vasilyevich Vasnetsov, like his grandfather and great-grandfather, was a priest. In the second year of birth, the boy and the whole family are transported to the village of Ryabovo, where the artist’s father received new parish. The artist spent his childhood in Ryabovo, in the same province, along with his five brothers. Brother Apolinarius also became an artist in the future; he was eight years younger than Viktor Vasnetsov. Vasnetsov studied at the peasant college art school at a time when there was a party struggle against the clergy. Father Mikhail could not pay for his son’s studies in painting. So at the age of ten the boy enters the Vyatka Theological School, then at fourteen he enters the Vyatka Theological Seminary. In his last year, however, Victor leaves to enter the Academy of Arts without completing his studies. The father blessed his son, and he received money at an auction for two of his paintings - “The Milkmaid” and “The Reaper” - he already received the money while in St. Petersburg. So in 1867, Vasnetsov arrived in St. Petersburg with virtually no means of subsistence.

At the Academy of Arts, young Vasnetsov successfully passes the drawing exam. But I still didn’t realize that I had entered and studied for a year at the Drawing School at the Society for the Encouragement of the Arts. In 1868, he began studying at the Academy, where his favorite mentor was P. Chistyakov.

At the Academy, Vasnetsov was close friends with Repin, wrote in the spirit of the Wanderers genre paintings. His first painting at the traveling exhibition was “Tea Party in a Tavern” (1874).

In 1875 Vasnetsov V.M. leaves the Academy of Arts without graduating, and in 1876 goes to Paris, where he stays for more than a year with Academy pensioners Repin and Polenov. Paints the painting “Acrobats” (1877) - a genre work performed with French scenery.

Returning to Russia, he joined the Association of Traveling Art Exhibitions as a genre artist. The artist moved to live in Moscow, his new acquaintances were S. Mamontov and P. Tretyakov. In Abramtsevo he is a member of a circle of artists, where he designs the Church of the Savior Not Made by Hands for the estate. And his studies in decorating for the Mamontov Private Opera lead him to become interested in Russian folklore. Vasnetsov came from the provinces, was conquered by Moscow, its historical monuments, here the talent of the Russian artist develops and strengthens, big changes in his work.

In 1880, a painting by V.M. Vasnetsov appeared at the VIII traveling exhibition. - “After the massacre of Igor Svyatoslavich with the Polovtsians” - based on “The Tale of Igor’s Campaign.” I. Kramskoy, P. Chistyakov and I. Repin spoke with admiration about this painting. This picture was painted on the threshold of unrest and popular unrest. The task of Vasnetsov’s new direction in painting is to find a positive path for Russia. Vasnetsov devoted all his further work to this.

From 1885 to 1896, Vasnetsov designed the Vladimir Cathedral in Kyiv. He painted the cathedral together with M. Nesterov. So Vasnetsov V.M. became a famous icon painter and received a large number of church orders.

In 1892 - professor at the Academy. However, later, in 1905, Vasnetsov, in protest against the political prejudices of young artists, refused this title.

In 1893, Vasnetsov received the title of full academician of painting.

In 1899 she saw the light famous painting Vasnetsov "Bogatyrs". Then a personal exhibition of the Russian artist took place.

In 1912, Vasnetsov was elevated to “nobility” Russian Empire dignity with all descending posterity." His fabulous paintings were symbolic at that time Vasnetsov was an opponent of the revolution and did not accept the changes that had occurred. Magazines trashed the artist’s work to smithereens. Vasnetsov’s last unfinished work was a portrait of M. Nesterov, a good old comrade and student. The artist’s life ended in another country – the USSR.

Famous works of Viktor Mikhailovich Vasnetsov

The painting “From Apartment to Apartment” was painted in 1876 and is located in the State Tretyakov Gallery in Moscow. This work permeates the Dostoevsky sound of the plot. According to the plot of the film, an old man and an old woman are expelled from their apartment due to poverty - this is indicated by old clothes, a collected bundle - and are forced to wander in search of a new home. Their faces are filled with suffering, their eyes are filled with despair and confusion. A stray dog is also depicted, shriveled from the cold, which enhances the hopelessness of the entire scene. This painting is considered the best of Vasnetsov’s works, executed in a genre style. There is no academicism here, instead of which the huge shortcomings of society are depicted. That is why the artist left the Academy of Arts and joined the Wandering movement.

Vasnetsov, “based on” “The Tale of Igor’s Campaign,” painted the painting “After the Battle of Igor Svyatoslavich with the Polovtsians” in 1880. The painting can be seen in the State Tretyakov Gallery in Moscow. At the VIII traveling exhibition of 1880, I. Kramskoy said about the picture shown: “This is an amazing thing that will not be truly understood soon.” This picture is not a look into the past, but from the past to the present. The painting does not depict the battle itself, but its conclusion. With this picture Vasnetsov moved from genre painting to monumental historical and folklore works. The compositional and semantic center of the picture is the pectoral cross hanging from the neck of the killed warrior-youth. The face of the fallen hero expresses calmness, there is no malice in it. All this shows the tranquility of the picture. Vultures symbolize demons tearing the souls of people. Only the intertwined bodies of a Russian warrior and a Polovtsian speak of a recent fierce battle.

Painting by Vasnetsov V.M. "Alyonushka" (1881). Vasnetsov painted this picture based on a Russian fairy tale. I started in the summer in Akhtyrka near Abramtsevo, and finished in the winter in Moscow. At that time he was visiting musical evenings Tretyakov, where he listened to Bach, Mozart, Beethoven. Vasnetsov nurtured the plot of “Alyonushka” for a long time and wrote it only when he met a Russian girl with eyes full of sadness, loneliness. “Some kind of special Russian spirit wafted from her,” Vasnetsov said. The face, pose, and clasped fingers expressively reflect the girl’s deep sadness. Fairytale birds lurked on the branches of trees. Here Vasnetsov conveyed human experiences through nature. The dark water of the pool attracts Alyonushka.

Painting “The Knight at the Crossroads” (1882). The painting was created by Vasnetsov based on the plot of the epic “Ilya Muromets and the Robbers.” The first sketches were made by the artist in the 1870s. In 1878, the first version of the painting “The Knight” was painted, which opens the series folklore works Vasnetsova. In 1882, the Russian artist painted a second version for S. Mamontov, larger in size, with the monumentality of painting. This new option was not the last, but it became generally accepted. IN this work folklore “fantasy” and realistic details are intertwined. When painting, he studied the history of the era in historical museum, in the Armory Chamber. The inscriptions on the prophet stone were taken by the artist in Public library. The knight is depicted with a lowered spear in deep thought in front of a stone, however, from the picture it is already clear what only decision will be accepted. A huge bird - an obligatory character of Russian folklore - is spread out on the horizon line. It is written on the stone: - “How to drive straight - I will not live - there is no way for the passerby, nor the one driving, nor the one flying over.” Vasnetsov partially erased or hid other inscriptions (“Ride to the right – married being; drive to the left – rich being”). The painted skull and bones complement the plot of the picture.

Masterpiece by Vasnetsov V.M. Painting "Bogatyrs"

The painting was created from 1881 to 1898 and is stored in the State Tretyakov Gallery in Moscow. The artist worked on this painting for almost thirty years (the first sketch was made in 1871). In Paris in 1876 - a sketch made in Polenov’s Parisian workshop. In April 1898, P. Tretyakov bought the completed painting; “Bogatyrs” became one of his last acquisitions. In the same year, Vasnetsov organized a personal exhibition in which “Bogatyrs” was the main work. According to Vasnetsov, “Bogatyrs” were his creative duty, an obligation to his native people. So, along with the harsh depiction of life (realism), interest arose in the origins folk culture, to folklore.

Ilya Muromets Vasnetsova is a simple, simple-minded person, a mighty warrior.

Dobrynya Nikitich is experienced, courageous, prudent and educated (in his youth he went through “school” with six elders). This image was taken by Vasnetsov from the folk epic.

The viewer looks at the heroes as if from the bottom up, which is achieved by placing the horizon line in a higher position. There is a treasure sword and a fierce horse under Ilya, as indicated by a massive metal chain. All this is taken from epic tales about Russian heroes.

Acrobats

From apartment to apartment

Knight at the crossroads

Alyonushka

After the massacre of Igor Svyatoslavich with the Polovtsians

Comes from a family of clergy. Father Mikhail Vasilyevich Vasnetsov, like his grandfather and great-grandfather, was a priest. In the second year of birth, the boy and the whole family are transported to the village of Ryabovo, where the artist’s father received a new parish. The artist spent his childhood in Ryabovo, in the same province, along with his five brothers. Brother Apolinarius also became an artist in the future; he was eight years younger than Viktor Vasnetsov. Vasnetsov studied at a peasant art school at a time when there was a party struggle against the clergy. Father Mikhail could not pay for his son’s studies in painting. So at the age of ten the boy enters the Vyatka Theological School, then at fourteen he enters the Vyatka Theological Seminary. In his last year, however, Victor leaves to enter the Academy of Arts without completing his studies. The father blessed his son, and he received money at an auction for two of his paintings - “The Milkmaid” and “The Reaper” - he already received the money while in St. Petersburg. So in 1867, Vasnetsov arrived in St. Petersburg with virtually no means of subsistence.

At the Academy, Vasnetsov was close friends with Repin and painted genre paintings in the spirit of the Itinerants. His first painting at the traveling exhibition was “Tea Party in a Tavern” (1874).

Returning to Russia, he joined the Association of Traveling Art Exhibitions as a genre artist. The artist moved to live in Moscow, his new acquaintances were S. Mamontov and P. Tretyakov. In Abramtsevo he is a member of a circle of artists, where he designs the Church of the Savior Not Made by Hands for the estate. And his studies in decorating for the Mamontov Private Opera lead him to become interested in Russian folklore. Vasnetsov, a native of the provinces, was captivated by Moscow and its historical monuments; here the Russian artist’s talent develops and strengthens, and great changes take place in his work.

In 1892 - professor at the Academy. However, later, in 1905, Vasnetsov, in protest against the political prejudices of young artists, refused this title.

In 1893, Vasnetsov received the title of full academician of painting.

In 1899, Vasnetsov’s famous painting “Bogatyrs” saw the light of day. Then a personal exhibition of the Russian artist took place.

In 1912, Vasnetsov was elevated to “the dignity of the nobility of the Russian Empire with all descendants.” His fairy-tale paintings were symbolic at that time Vasnetsov was an opponent of the revolution and did not accept the changes that had occurred. Magazines trashed the artist’s work to smithereens. Vasnetsov’s last unfinished work was a portrait of M. Nesterov, a good old comrade and student. The artist’s life ended in another country – the USSR.

Famous works of Viktor Mikhailovich Vasnetsov

Vasnetsov, “based on” “The Tale of Igor’s Campaign,” painted the painting “After the Battle of Igor Svyatoslavich with the Polovtsians” in 1880. The painting can be seen in the State Tretyakov Gallery in Moscow. At the VIII traveling exhibition of 1880, I. Kramskoy said about the picture shown: “This is an amazing thing that will not be truly understood soon.” This picture is not a look into the past, but from the past to the present. The painting does not depict the battle itself, but its conclusion. With this painting, Vasnetsov moved from genre painting to monumental historical and folklore works. The compositional and semantic center of the picture is the pectoral cross hanging from the neck of the killed warrior-youth. The face of the fallen hero expresses calmness, there is no malice in it. All this shows the tranquility of the picture. Vultures symbolize demons tearing the souls of people. Only the intertwined bodies of a Russian warrior and a Polovtsian speak of a recent fierce battle.

Painting by Vasnetsov V.M. "Alyonushka" (1881). Vasnetsov painted this picture based on a Russian fairy tale. I started in the summer in Akhtyrka near Abramtsevo, and finished in the winter in Moscow. At that time, he attended Tretyakov’s musical evenings, where he listened to Bach, Mozart, and Beethoven. Vasnetsov nurtured the plot of “Alyonushka” for a long time and wrote it only when he met a Russian girl with eyes full of sadness and loneliness. “Some kind of special Russian spirit wafted from her,” Vasnetsov said. The face, pose, and clasped fingers expressively reflect the girl’s deep sadness. Fairytale birds lurked on the branches of trees. Here Vasnetsov conveyed human experiences through nature. The dark water of the pool attracts Alyonushka.

Painting “The Knight at the Crossroads” (1882). The painting was created by Vasnetsov based on the plot of the epic “Ilya Muromets and the Robbers.” The first sketches were made by the artist in the 1870s. In 1878, the first version of the painting “The Knight” was painted, which opens a series of folklore works by Vasnetsov. In 1882, the Russian artist painted a second version for S. Mamontov, larger in size, with the monumentality of painting. This new option was not the last, but it became generally accepted. This work intertwines folklore “fantasy” and realistic details. When painting, he studied the history of the era in the historical museum, in the Armory. The inscriptions on the prophet stone were taken by the artist from the Public Library. The knight is depicted with a lowered spear in deep thought in front of a stone, however, from the picture it is already clear what the only decision will be made. A huge bird - an obligatory character of Russian folklore - is spread out on the horizon line. It is written on the stone: - “How to drive straight - I will not live - there is no way for the passerby, nor the one driving, nor the one flying over.” Vasnetsov partially erased or hid other inscriptions (“Ride to the right – married being; drive to the left – rich being”). The painted skull and bones complement the plot of the picture.

Masterpiece by Vasnetsov V.M. Painting "Bogatyrs"

The painting was created from 1881 to 1898 and is stored in the State Tretyakov Gallery in Moscow. The artist worked on this painting for almost thirty years (the first sketch was made in 1871). In Paris in 1876 - a sketch made in Polenov’s Parisian workshop. In April 1898, P. Tretyakov bought the completed painting; “Bogatyrs” became one of his last acquisitions. In the same year, Vasnetsov organized a personal exhibition in which “Bogatyrs” was the main work. According to Vasnetsov, “Bogatyrs” were his creative duty, an obligation to his native people. So, along with a harsh depiction of life (realism), an interest arose in the origins of folk culture, in folklore.

Ilya Muromets Vasnetsova is a simple, simple-minded person, a mighty warrior.

Dobrynya Nikitich is experienced, courageous, prudent and educated (in his youth he went through “school” with six elders). This image was taken by Vasnetsov from the folk epic.