Фильм 3. Изобраазительное искусство 1-Й ПОЛОВИНЫ XIX в. Время надежд

The 18th century is a new frontier of historical space. In the Age of Enlightenment, or, as it is also called, the Age of Reason, art itself seems, according to one contemporary, a transformation of reason. It is for the reasonable arrangement of the Russian state that the Academy of Arts is being created. Portrait painting becomes the centerpiece of aesthetic innovations. Among the significant masters of the portrait genre, it should be named, first of all, Antropov, Argunov, Losenko, Rokotov, Levitsky. The human self spreads into the world, filling it with its whims, culture and nature. Everything is measured by a purely human measure. Therefore, new art seems so majestic and at the same time so cozy, as if it was created specifically for amusement and comfort. The Russian Age of Enlightenment was fatally associated with imperial despotism and serfdom. The background of the epoch, like the dark background of old family portraits, contains a mass of harsh and, to a greater extent, unseemly truths. However, it was the exquisite art, noble art, that gave, perhaps, the most faithful chance of a life-long liberation, that gave a guarantee of salvation in beauty, thanks to which all classes, higher and lower, turned into actors of a festive theater of life. It has long passed, and there are no more those eyes. But the beauty of it was saved by Borovikovsky, according to Polonsky's line about a lovely lady in an old portrait. Thus, art, in general, saved for us the Age of Enlightenment, the Age of Chigalskoy and naive, cunning and at the same time childishly simple-minded. The starting point of the image Alexeev makes Petropavlovsk Fortress, showing a part of its wall, as if emphasizing that the creation of the city began with it. The transfer of the air atmosphere, the play of light on the water and buildings contribute to the emotionality of the image of the city. The asymmetric construction of the composition gives an image of three-dimensionality, architecture, volume and clarity, creating the impression of a vanishing space. This is the feature of the style of classicism. The color scheme is built on the flow of cold, blue and green tones of water and sky and warm, pink and brown, clouds and buildings. Alexeev studied in Venice and with brilliance embodied the lessons of Venetian landscape painting on Russian soil. The artist often painted Moscow views. In Moscow, Alexeev is particularly attracted to antiquity. Unlike Petersburg, his Moscow landscapes are filled with the life of the city, with its bustling crowd, with its everyday life. The artist uses a diagonal perspective, which leads the viewer's eye to the depth of the picture and seems to draw it into its space. Darker than in Petersburg works, it is a brownish-golden color with bold contrasts and a play of light and shadow. The portrait was created for the Holy Synod, so Peter is depicted here as a religious reformer. He points to his spiritual rule, which subjugated the Church to the state. In the distance is the cathedral of the Peter and Paul Fortress, from which the construction of the new capital on the Neva began. As in other court portraits of the epoch, the hero of the picture is presented among the clear evidence of his deeds. He visibly transforms the entire environment, giving it royal grandeur. The painter used the traditional scheme of a parade portrait. The figure of Peter the Third in height is depicted in the foreground of the Emperor's chambers against the backdrop of a vaulted colonnade with garlands of leaves laid out in the columns' grooves. In the left part of the picture, on the wall, is a portrait of Peter the First in a carved frame. Before Peter the Third is a table decorated with bizarre-shaped legs with royal regalia. In the right part of the picture, there is a throne with a mountain mantis carelessly thrown at it. The Emperor's clothes, a golden comsole under a golden scarf with brushes, are beautifully combined with a dark-green uniform with red lapels, golden embroidery and an order ribbon. The white mountain mantis also seems to have a golden interior in the twilight. All the tones harmoniously complement each other. The portraits of Antropov still bear the influence of porcelain. The painter carefully, almost with natural precision, draws out the faces, but they are somewhat frozen and resemble painted clay toys of that time. Apparently, this impression is enhanced by the painter's color scheme, always bright, using local colors, purely decorative. Notice how the color of the ribbon and the cheek of the lady contrast with the local blue color of the dress. We are looked at by a cute, pure Russian face, attractive in its trustworthiness and simplicity. It shines with calmness and joy. The eyes are bright, the gaze is direct, the features of the face are correct. She is dressed in an elegant, festive, red sarafan and a white blouse. The composition is classically simple, but it is thanks to this structure that the image is created. The line of the outline of the head, decorated with a high headdress, smoothly transitions into the strict lines of the slender neck, which flow into the shoulders. All the lines seem to flow. The tones of the colors are soft, restrained, which gives the portrait balance and tranquility. All the lines and shapes harmoniously combine in the portrait. They are thought out and subordinate to each other. The carefully designed landscape background becomes an important component of the portrait characteristics. The line of the head and the bent arm are repeated in the line hanging from the top of the branches of the tree, embracing the figure. The slope of the torso, the lowered arm, the slopes of the birch trees, depicted in the background, and the gliding dim light model the shapes. The light and shadow nuances sculpt the face. The figure is surrounded by a light-air environment, but does not merge with it. This shows the influence of sentimentality. The color scheme is of great importance. It consists of a combination of faded tones, pinkish-purple, pale blue, delicate green, pearly and golden. Anna and Varvara Gagarin, are depicted as musicians, and their passion for art symbolically expresses the feeling of lyrical and soulful friendship, a tender bond of souls. The painting is one of the best works of late Borovikovsky. It was created at a time when sentimentality, the poetry of feelings, acquired distinctly romantic features. In the canon of the Russian portrait genre of the period of sentimentality there is a portrait of Catherine II. The empress is depicted during her rest in her daily clothes with her beloved dog. Such a daily interpretation of the image of the empress was impossible before. Before us is not a lawmaker who is a millionaire, but a sweet and simple lady walking around her estate. The emperor is depicted in the costume of the Maltese Order, the great master of which he became at the very end of the 18th century. Malta at that time was captured by Napoleon, and Paul I acted as the main patron of the Order, thereby wanting to strengthen the European authority of Russia against France. The extremely eccentric monarch is depicted here as a great and determined self-sustaining man. His charming face, which still retains a childish roundness, is framed by dark chestnut curls on the shoulders of his elbows. His large gray eyes look thoughtful, and his rosy lips have formed a dreamlike smile. His head is slightly turned to the side, and his face is slightly relative to his torso. This technique gives the pose portrayed gracefulness. The color combinations used by the artist of the range of pearly and green shades are exquisite. These basic tones are shaded in pink in the clothes, in the hair, in the cheeks, in the lips. The skillfully applied glare conveys the moist shine of the eyes. The face, neck, dress are painted with a dense layer of paint. The artist skillfully uses liquid paints The lace is given with a thin, convex stroke on the paint surface. The artist observes all the rules of the genre of the parade, presentation portrait. He chooses a large, vertical format, places the figure against the background of columns and draperies, portraying the portrayed in full height from the point of view of the audience. But Demidov, a well-known, rich industrialist, is not shown here as an official person. In the painting, he appears in the role of a gardener's lover. Demidov is dressed in a home-style robe, instead of a necessary wig. The artist carefully paints the objects on the table, creating a peculiar and finished nature-mort. It seems that the artist and the model admire this side of life, the beauty of everyday life, only hinting at the public role of the character of the painting, which is represented by the majestic building of the House of Education in the background. Catherine is depicted as a priestess in the Church of Justice. At the foot of the statue of justice there is a sacrifice on which poppies are burned, a symbol of tranquility. Catherine indicates on the sacrifice that she sacrifices her tranquility for the sake of the state. At her feet there is a bas-relief depicting a salon, which is considered to be the first legislator. The portrait is full of complex allegories, but well-understood by the contemporaries. The painting demonstrates the artist's virtuoso skills both in the area of color, in all its shades, up to the burning glare on the dress, as well as in the transfer of texture to the object. It depicts the atlas, velvet, fur, the cold marble of the statue and the warmth of the flesh of the model with true authenticity. In an attempt to show the national character of the characters, Losenko dresses them not in the traditional way, but in a conventional way. At that time, tragic characters appeared in such clothes on the stage. However, one of the servants of Rogneda is dressed in a Russian dress with a pearl band on her head. Her hair is braided in a braid. To intensify the effect of the dramatic experience of Vladimir and Rogneda, they are opposed to the quiet obedience of the servant of the princess and the cold curiosity of the prince's warriors. In the theatrical-conditional character of the painting full of pathos, features in the style of classicism The drawing in the painting, as required by the academic painting, is impeccable. The color has a local character, does not flow into other colors. The volume of the figures is achieved by the development of light and shadow. The colors used by the artist are red, olive, dark brown, and gray. This painting is based on the story of Iliad of Gomera and is made in the spirit of the Hellenistic classics. A dramatic moment of narration in which, in the most theatricalized spirit, the artist presents us his heroes, who sacrifice themselves and their families, following a civic duty. The action is taken to the fore and framed with the image of buildings as theatrical backdrops, which gives it an even greater resemblance to the stage of the theater, where the actors, in accordance with the modern tradition, play their roles in a highly exalted manner. The first version of the portrait of the father of the Russian theater, Fyodor Volkov, was performed by Losenko in the year of the actor's death. The character of the painting is depicted as a part of the role, partially already in the stage disguise. In his left hand there is a mask, as a symbol of theatrical art, and in his right hand there are the attributes of the tsar's power. According to Fan Vizin, he looks like a husband of a deep mind, who could be a state person. Matveev is the main character in the portrait, although he is sort of in the background. The face of the artist is expressive. The dark eyes, the eyebrows, the slightly shrunken smiling lips create a bold, open, swift image, depicting the era of Peter I, and at the same time full of love and tenderness for his young wife. Matveev sort of presents his young wife to the viewer, slightly embracing her with one hand, and slightly pushing her forward. The other holds her by the hand, like in a dance. The youth, purity, the confused smile, and the proud posture make the artist's wife more attractive. The color is maintained in a reddish-brown and greenish hue, which gives the canvas nobility and solemnity. This portrait cycle, created in the 17th-18th centuries, is also called the Preobrazhensky cycle. The name of the palace in the Moscow village of Preobrazhensky was the favorite residence of Peter I. It depicts the members of the so-called most jovial and drunken of the Moscow Cathedral, a narrow circle of people who resolved state affairs in an atmosphere of friendly drinking. The portrait images, including the figure of Stolnik Shchepotev, are resolved in the spirit of bold grotesque, clearly opposing strict church nobility. The portrait of Tsarevna Natalia Alekseevna, the sister of Peter I, was painted by Ivan Nikitin before his departure to Italy, where he perfected his painting skills. These are still early steps of Russian Baroque painting, quite fragile steps, as if provincial. But Tsarevna's powerful face and her lush clothes, with lace and golden mantle, are conveyed very expressively. Nikitin clearly masters the typical techniques of the European court portrait. This is the work of a mature master who possesses the modern Western system of painting. The portrait is full of subtle psychologism, striking in the depth and penetration of the character of the model, which became available to Russian artists only in the second half of the 18th century. Unfortunately, the creative path of the talented master was soon interrupted, as during the reign of Anna Ioannovna, Nikitin was arrested for a secret denunciation, spent many years in the Petropavlovsk Fortress, and then was sent to exile. There are no elements of pomposity, rich accessories in the portrait. A completely calm pose, portrayed statically in its proud posture. The figure is depicted in a three-quarter turn. The head is almost in the face. The artist's attention is concentrated on the face. He is captivated by the inner world of the model. With the outward closeness of the image, the artist observes a shade of disappointment in his model, the inner independence of nature, its power. The artist is concerned with the individuality of the image. Rokotov's painting is airy and free. Building a color scheme in combination of blue and white, he avoids sharp, unharmonious spots. Count Artem Ivanovich Vorontsov entered history, first of all, as Pushkin's godfather. In his court career, he preferred a free life in Moscow. Rokotov, closely associated with Vorontsov's family, who fulfilled a number of his orders, depicted Artem as a young, cheerful master, demonstrating his high skill as a colorist This painting is the first work of the household genre in Russia. The corner of a small room. A boy-painter, with his hair in an old jacket, stands in front of the painting, drawing a tired posing girl, whom his mother persuades to sit quietly. Each character is given to the artist convincingly and naturally. Firsov's painting is free and soft. Shades of light, glare on faces, clothes, things, dim light falling from the window soften the contours and create an airy environment surrounding the figure and the naturalness of the setting. The color scheme is modest, but carefully thought out. Pink, bluish-red, white and pale yellow colors of the right part of the canvas naturally combine with the slightly greenish-gray shades of the left. In Shubin's work, the Russian sculptural portrait reaches a high European level. The character in this marble bust is pronounced brightly, energetically, with true plastic magnificence. Count Ivan Chernyshov was known, first of all, as an experienced painter. He looks collected here, always on the lookout. Shubin created both the image of a person and the image of the Catherine era. The era of active, vigorous, but complete and endless craftsmanship. Shubin's female images are usually more harmonious and more ideal than male. However, Empress Maria Fedorovna, the wife of Paul I, was, in her own way, especially against the background of her formidable and eccentric husband, a person romantically ideal, who made a great contribution to Russian art, first of all, thanks to her care for the decoration of Pavlovsk. For Shubin, she looks like a real goddess of reason and grace.