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Slide text: SELECTION OF WORKS BY REALISTS. P. A. FEDOTOV (1815-1852) Municipal educational institution secondary school No. 36 Completed by: Natalya Korelskaya, 11th grade Slide text: A selection of the most outstanding works of painting by the realist artist Pavel Andreevich Fedotov. Realism is a direction in art characterized by the depiction of social, psychological, economic and other phenomena that are as close to reality as possible. In the field artistic activity The meaning of realism is very complex and contradictory. Its boundaries are changeable and uncertain; stylistically it has many faces and many options. Within the framework of the direction, new genres are being formed - everyday painting, landscape, still life, portrait in the genre of realism. The term “realism” was first used by J. Chanfleury to designate art that opposes romanticism and symbolism. The birth of realism is most often associated with creativity French artist

Slide text: Pavel Andreevich Fedotov is an outstanding Russian painter and draftsman. He was born in Moscow on June 22, 1815, in the parish of Kharitonia, in Ogorodniki. His father had a small wooden house; He was a poor man, his family was large, and the children, including Pavlusha, grew up without much supervision. At the age of eleven he was sent to the cadet corps. The boy’s abilities were brilliant, his memory was extraordinary, and the authorities could only be embarrassed by the fact that in the margins of Fedotov’s school notebooks there was a whole collection of portraits of teachers and guards, and in addition, in caricature form. Having begun his military service as an ensign in the Finnish Life Guards Grenadier Regiment in St. Petersburg, Fedotov studied music, translated from German, wrote epigrams for his comrades, and drew caricatures of them. He did not have any funds; in his free time from service, he took up caricatures and portraits, which were extremely successful and attracted the attention of connoisseurs. After much convincing, he even decided to leave the service and retired with a pension of 28 rubles 60 kopecks a month. He had no right to this pension: it was assigned to him only by the special grace of Emperor Nikolai Pavlovich, who appreciated his talent and assumed that he would make a good battle painter. Fedotov moved to Vasilyevsky Island, rented a small room from the landlady and entered the Academy. K. Bryullov had a great influence on him. In academic classes, under the guidance of Professor Sauerweid, who also apparently doubted his talent, he studied battle painting. At home, he depicted the most ordinary genres, illuminated by the author’s most good-natured humor. Ivan Andreevich Krylov, having seen Fedotov’s sketches, wrote him a letter in which he advised him to stop working in the genre of battles and move on to depicting everyday life. Fedotov believed the fabulist and left the Academy. In 1847, he painted his first painting, which he decided to present to the professors. This painting was called “Fresh Cavalier”. Another painting, “The Picky Bride,” was written based on the text of Krylov’s famous fable. Even such ardent admirers of monumental painting as Bryullov could not help but recognize the true talent in these works, and advised Fedotov to continue his studies in the same direction. At the exhibition of 1849, both these two paintings and a new, much more advanced one, “The Major’s Matchmaking,” appeared for the first time. For his last painting, the artist was awarded the title of academician. The public stood in front of these paintings with undisguised surprise and delight: it was a new revelation, a new world discovered by the artist. Until now, Russian life, as it is, in all its real frankness, has not yet appeared in painting. She brought the artist material well-being, but, unfortunately, fate came to the artist’s aid too late. He dreamed of going to London and studying with the genre artists there, but the illness was already nesting in him and undermined his health. A tense, nervous life and unhappy love contributed to the development of a serious mental illness in him. In the spring of 1852, he conceived a new painting, “The Return of the College Girl to Gustave Courbet (1819-1877), who opened his personal exhibition “Pavilion of Realism” in Paris in 1855. parents' house

"But the artist became increasingly abnormal and needed strict supervision. He had to be placed in a mental hospital, and there he ended his sad existence. He was buried on November 18, 1852. After Fedotov, there were few paintings left.

Slide text: “The Picky Bride” 1847 P.A. Fedotov took Krylov’s famous fable “The Picky Bride” about a fastidious beauty who year after year refused all applicants, until she suddenly realized: “The beauty, until it has completely faded, For the first , whoever approached her, went, And she was glad, she was glad that she married a cripple.” The decisive moment was chosen that made it possible to understand everything - the fates of people explaining themselves to each other, and the essence of the explanation itself, and what would follow. The characters actually live through such an important situation for them, completely surrendering to their feelings. The things around are strictly selected, and not a single one of them seems superfluous: the top hat with the gloves placed in it, overturned by the Groom when he briskly rushed to the feet of the Bride, and the furnishings.

Slide text: “Fresh Cavalier” 1848 The morning of the official who received the first cross and represented the official who had barely come to his senses after the feast given to him on the occasion of receiving the order. The official himself is depicted in a wretched robe, with his head curled in papillots, shoeless and arguing with the cook, who shows him the soles of his boots. Under the table one of yesterday's guests is visible, sleepily watching the home scene.

Slide text: "Fresh Cavalier" 1848 Tretyakov Gallery, Moscow

Slide text: "Major's Matchmaking" 1848. This painting is a highly artistic image from Moscow merchant life. The center of the picture is occupied by the bride, dressed in a wide muslin dress from the 1840s, who rushed out of the room at the news that the groom had arrived. Her mother, dressed like a merchant, in a silk warrior, caught her by the dress; the old father hastily plows in his Sibirka; The housekeeper, nanny and maid are bustling around the snack table. The matchmaker in a silk coat, with the inevitable handkerchief in his hands, stands at the door, announcing the groom. The groom himself is visible through the open door: he is a brave, mustachioed major, in whom one can partly catch the facial features of the artist himself. Only the kitten remains indifferent to the general commotion, occupying the very foreground of the picture and carefreely washing itself on the parquet floor of the merchant's living room.

Slide text: "Major's Matchmaking" 1848 Tretyakov Gallery, Moscow

Slide No. 10

Slide text: “It’s all cholera’s fault!” 1848. Fedotov spent a long time fiddling with the plot “It’s All Cholera’s Blame,” sketched out hot on the heels of recent sad events that still haven’t lost some of their poignancy. However, this plot was conceived in a rather ironic spirit. A small home party, one guest has fallen from his chair, having too much to drink, and there is a bustle around him: a woman is rubbing his chest with a brush, the owner is reaching out with a glass of tea, there is a heated, almost to the point of a fight, argument between the two ladies about the necessary means, and the victim Meanwhile, he lies flat with his arms outstretched - the serious is mixed with the comic. “Our brother reproaches the evil one for his sins. So, when there is fear of cholera in the city, everything is to blame for everything. All cholera is to blame. So, when someone gets their hands on something delicious, they can’t resist it, so much so that in a healthy time, it’s time for the stomach to digest it. So sometimes forgetting fear At friendly feasts They will drink one wine Half a dozen for a brother You look bad, who is to blame It’s all cholera’s fault.”

Slide No. 11

Slide text: “It’s all cholera’s fault!” 1848 State Russian Museum, St. Petersburg

Slide No. 12

Slide text: “Fashionable Wife” (“Lioness”), 1849. The painting depicts a society lady standing in the middle of the living room in a “fashionable” pose. She is smartly dressed, which cannot be said about her husband. There is a thin cigarette in her mouth, all her thoughts are occupied with only one thing - fashion, clothes, external gloss. Amidst the decay of the home, dirt and greyness, all this looks very ironic. “Before she was a lady and had an exemplary reputation, she went to the market with a cook, she salted cucumbers and mushrooms and took care of the cinders. I walked abroad and lived in Paris - I returned as a lioness.”

Slide No. 13

Slide text: “Fashionable Wife” (“Lioness”) 1849 State Tretyakov Gallery, Moscow

Slide No. 14

Slide text: “Breakfast of an Aristocrat,” 1851. After the success of the painting “Major’s Matchmaking,” Fedotov, going through his sketches, decided to dwell on the topic suggested by the feuilleton. The situation presented in the picture is not ugly or ugly in itself. The plot, as always with Fedotov, is clear enough: an impoverished aristocrat sits in a luxurious, ostentatious interior. Hearing the guest's footsteps, he hides a piece of bread, which makes up his entire breakfast. We cannot see the guest, but only the hem of his coat and a gloved hand pushing back the curtain. The noise in the hallway took the “aristocrat” by surprise and he hastily tries to cover up the evidence with a book. Before us is one of Fedotov’s favorite themes - lies, deception, hiding behind apparent prosperity. The superbly written interior with the established beauty of the objects that inhabit it is contrasted with the world of deception into which the hero is plunged. This comparison contains a moralizing meaning. Fedotov gave it a touch of comedy; it was not for nothing that he remembered in connection with the picture a wise folk saying: “there is silk on the belly, but there is crack in the belly.”

Slide No. 15

Slide text: “Breakfast of an Aristocrat” 1851 Tretyakov Gallery, Moscow

Slide No. 16

Slide text: “Widow” 1851 “Widow” is marked by a special, deliberate simplicity. There is only one figure in the picture and there is no action. In a dim, simply decorated room, a young pregnant woman in a black mourning dress stands leaning on the chest of drawers. There was an expression of deep sadness and thoughtfulness on her face. On the chest of drawers, next to the icon, there is a portrait of a young officer in a hussar uniform - the late husband of the widow. In a dark corner of the room, near the bed, a candle, forgotten from the night, burns; she illuminates a basket in which the few things that still belong to the young woman are somehow folded; the furniture is no longer hers - it has been described, and government seals are attached to it. The husband left only debts as an inheritance, the creditors described the property, and the widow will have to leave that cozy little world in which she was recently the mistress. A bleak future opens before her. The scene painted by Fedotov is marked by the same relaxed naturalness that characterizes his satirical paintings. In the appearance of the widow there is nothing ostentatious, nothing deliberate, no pose; she has the same unadorned life truth, which constitutes the very essence of Fedotov’s painting.

Slide No. 17

Slide text: “Widow” 1851 Tretyakov Gallery, Moscow

Slide No. 18

Slide text: “Players” 1852 In the film, Fedotov tried to depict what was happening from the point of view of a lost hero, to whom his partners seemed like terrible phantoms. The players were together for several hours spent in mutual deception, rivalry and struggle. But then what had to happen happened. The winners, with their heavy heads, stiff lower backs and aching joints, found themselves in one world, and the loser, with a feeling of complete hopelessness that gripped him, found himself in another. Light, space and movement separated them in the painting. He is calm and motionless. They squirm and move. Crushed and overthrown, he froze, one hand still clutching the glass of wine. The loser is almost ridiculous: a half-smoked cigarette sticks stupidly out of his mouth, he looks like a madman and, apparently, is close to it. The players are faceless and lifeless. There is no feeling, nothing human in them. Only baseness and devastated souls.

Slide No. 19

Slide text: Kiev Museum of Russian Art, Ukraine “Players” 1852

"Pavel Andreevich Fedotov"– a presentation that will introduce the work of the Russian artist, who can be called the first among the artists of the mid-forties of the 19th century, belonging to the natural school, striving to display the truth of life.

Pavel Andreevich Fedotov “Gogol of Russian painting”

“Pavel Fedotov’s paintings represent scenes from life in which the tragic essence of the situation is hidden under the mask of the everyday. They can be called moral sermons, the task of which is to correct people.”

“Fedotov was in Russian genre painting forerunner of critical realism. This is exactly what analytical method, revealing the contradictions of the surrounding world, was destined to become dominant in Russian art of the second half of the 19th century century"
L.G. Emokhonova

Painting by Pavel Fedotov

The first paintings "Fresh Cavalier" And "The Picky Bride" Fedotov showed it to Karl Bryullov. “The Great Charles” gave the artist some advice. Most likely Fedotov listened to this advice, since the picture "Major's Matchmaking", demonstrated at an academic exhibition in 1849, created a sensation. It was difficult to approach her because of the crowd of enthusiastic audience. For this work (not without the assistance of Bryullov), Pavel Fedotov received the title of academician of painting.

Fedotov’s paintings are called “porcelain” for the thoroughness of the glazes and the masterful rendering of the texture and texture of the depicted materials. Try using a magnifying glass and look at high magnification at the material from which furniture, clothing fabrics, and lamps are made on the artist’s canvases. Fedotov treated the creation of each painting the same way medieval masters treated the creation of their masterpiece.

Creativity and fate of the artist

Born into the family of a retired military man, who graduated with honors from the First Moscow Cadet Corps, Pavel Fedotov served for ten years in St. Petersburg in the Life Guards Grenadier Regiment and, despite the lack of sufficient means of livelihood, risked retiring in order to devote himself entirely to art.

Fedotov began with portraits of his comrades. The first works were written using graphic materials: watercolor, pencil, sepia These works were often didactic in nature, presenting caricatures, witty sketches "everyday life".

“My work in the workshop is not much: only a tenth. My main work is on the streets and in other people's houses. I learn from life, I work, looking into both eyes; my stories are scattered all over the city, and I have to look for them myself.”
Pavel Fedotov

It's interesting that in portraits the artist's irony gave way to bright, contemplative lyricism.

“With his last paintings, Fedotov signs a verdict on the evil world that destroys all living things. He also destroys Fedotov... The artist ends his journey in the thirty-seventh year of his life, ends tragically - in a madhouse.”
D.V. Sarabyanov

Latest paintings by Pavel Fedotov

“Together with the great Gogol, the artist represented Russian realism at that stage when the critical and tragic principles organically merged with the poetic. It’s not for nothing that contemporaries and descendants compared Fedotov with Gogol.”
D.V. Sarabyanov

Fedotov Pavel Andreevich, an outstanding Russian painter and draftsman. Born in Moscow on June 22, 1815, in the parish of Kharitonia, in Ogorodniki. His father had a small wooden house; He was a poor man, but his family was large, and the children, including Pavel, grew up without much supervision. The morals of the street where the Fedotovs lived were the most patriarchal, which existed for a long time on the outskirts of Zamoskvorechye: all the neighbors on the street lived as one family, and the younger generation spent whole days in the haylofts in the summer, and in the yard in sleds in the winter. Self-portrait

Pavel Fedotov later said that everything depicted in his paintings is the fruit of his youthful observations in Ogorodniki, and all the types that occupy him are a purely Moscow product. At the age of eleven he was sent to the cadet corps. The boy’s abilities were brilliant, his memory was extraordinary, and the authorities could only be embarrassed by the fact that in the margins of Fedotov’s school notebooks there was a whole collection of portraits of teachers and guards, and in addition, in caricature form. Capitalists

Gentlemen! Get married - it will come in handy! 1840 Having begun his military service as an ensign in the Finnish Life Guards Grenadier Regiment in St. Petersburg, Fedotov studied music, translated from German, wrote epigrams for friends and comrades, and drew caricatures of them. In his free time from service, he took up caricatures and portraits, which were extremely successful and attracted the attention of connoisseurs.

Bivouac of the Life Guards Grenadier Regiment, 1843 After much convincing, the aspiring artist decided to leave the service and retired with a pension. He had no right to this pension: it was assigned to him only by the special grace of Emperor Nikolai Pavlovich, who appreciated his talent and assumed that he would make a good battle painter.

Mousetrap Fedotov moved to Vasilyevsky Island, rented a small room from the landlady and entered the Academy of Arts. WITH early morning the young painter sat down to his sketches and sketches, wrapping himself against the cold in a sheepskin coat worn over his robe, and only in the hotly heated classrooms of the Academy did he warm up from his homework.

Christening In academic classes, under the guidance of Professor Sauerweid, who also apparently doubted his talent, he studied battle painting. The professor demanded a routine layout, that polished and polished image of the soldiers that their superiors demanded at the May parades. Fedotov was not to his heart, and at home he vented his soul, depicting the most ordinary genres, illuminated by the most good-natured humor of the author.

What Bryullov and Cholera didn’t understand It’s all cholera’s fault! 1848 Sauerweid, then Ivan Andreevich Krylov understood. He accidentally saw the sketches of a young painter and wrote a letter to the artist, urging him to leave horses and soldiers (battle painting) forever and get down to real business - the genre. The writer’s advice sounded like this: “Show our people as they are...” That’s what Fedotov did, being the first in Russia to create works in the genre of “moral-critical realism.”

In 1847, the painter painted the first picture, which Fedotov decided to present to the professors. This painting was called "Fresh Cavalier". The morning of the official who received the first cross and represented the official who had barely come to his senses after the feast given to him on the occasion of receiving the order.

Also in 1847, Pavel Andreevich Fedotov painted the canvas “The Picky Bride”. The canvas tells the viewer a whole story. This is facilitated by the deliberately prim furnishings of the room, the unnaturally emotional expressions on the faces of the acting characters and the somewhat comical nature of their positions.

For the painting "Major's Matchmaking" the artist was awarded the title of academician. The public stood in front of this picture with undisguised surprise and delight: it was a new revelation, a new world discovered by the artist. Until now, Russian life, as it is, in all its real frankness, has not yet appeared in painting.

The painting “Breakfast of an Aristocrat” was painted by P. A. Fedotov in 1849 -50. In it, the author ridicules the insignificance of a young aristocrat who squandered his fortune, but strives for external splendor and a life for show.

Pavel Fedotov deservedly bears the name of the discoverer of satire in Russian painting; the works he created have gone down in history visual arts and captivate the viewer with his unusual, uniquely subtle craftsmanship and unsurpassed realism, his miniature paintings simply make a charming impression on our contemporaries. Self-portrait

Fedotov Pavel
Andreevich Russian officer and
artist

Fedotov Pavel
Andreevich -
highly talented
draftsman and painter,
ancestor
humorous genre
Russian painting, son
a very poor official
former warrior
Catherine's times.
Self-portrait. P.A.Fedotov

From the artist's biography

Pavel Andreevich was born in Moscow 22
June 1815 on one of the outlying streets
Moscow in Ogorodniki in the family
titular advisor. The artist's father
dreamed about military career for son. On
Pavlusha remembered stories all his life
father, a former Suvorov soldier, o
campaigns and battles.
Eleven years old
Pavel Fedotov was identified as
students of the First Moscow Cadet Corps.
Main facade of the Cadet Corps
Catherine's Palace in
Lefortovo. Antonio Rinaldi.
P.A.Fedotov
Father's portrait

From the history of Russian cadet corps

Under Nicholas I it develops
the most slender and rational
cadet system
Nicholas I
buildings and their management.
In 1824 in the Catherine Barracks in Moscow
accommodated Smolensky arrived from Yaroslavl
cadet corps. Then the building
renamed the 1st Moscow Cadet
building, which was classified as a military training building
first class establishments.

In 1830 it was made
non-commissioned officer, in 1833
promoted to sergeant major and
in 1833 he graduated first from the course
student, what does his name have to do with
wound up
custom, included in the honorary
marble plaque in the assembly room
hall of the building.
P.A. Fedotov graduated from the corps
with the rank of lieutenant and received
the most prestigious
appointment: in the Life Guards
Finnish regiment, to St. Petersburg.
Cadet Fedotov.
portrait of Stromilov.
1828

FROM THE HISTORY
FINNISH LIFE GUARDS
SHELF
Barracks complex
FINNISH LIFE GUARDS
SHELF
Finnish Life Guards Regiment,
was formed in December 1806.
in Strelna and Peterhof as
Imperial Militia Battalion,
and already in 1808 assigned to the guard.
In October 1811 it was reorganized into three battalions and called
Life Guards Regiment. IN
The Russian army was breaking up into
army and guards corps.
Guard - a selected part of the army, enjoying certain official
advantages over army regiments.
Service in the guard could provide Fedotov with a career,
success and money for life.

Fedotov - officer

Fedotov officer
The regimental war began
life. In the first months
Fedorov was carried away by life
guards officers
- feasts, cards, fun
songs. But it didn't take long
time, novelty
has lost its charm.
Increasingly behind the external
he saw the glitter of parades
empty, thoughtless life
guards officer.
Family portrait

In the watercolor and oil portraits of fellow soldiers, the military lacked the romantic aura of a heroic personality that was usual for that time. Comrades

“Fedotov and his comrades in the Life Guards
Finnish Regiment"
Many sketches of Fedotov
made from a soldier's life.
He drew cartoons and
portraits of friends, scenes from
regimental life.
In watercolor and oil portraits
fellow soldiers are deprived of the usual
for that time of romantic aura
heroic personality. Comrades in the regiment
appear before the audience casually,
without any pose, they are modest and intelligent, the artist has sympathy for
to their heroes, but soberly and objectively.

Meeting at the Finnish Life Guards camp
Regiment of Grand Duke Mikhail Pavlovich
July 8, 1837
1838. State Russian Museum, St. Petersburg

Academy of Arts. Saint Petersburg.

Hermitage Museum. Neva embankment
In three or four years
service in the regiment, young
the officer began to visit
evening drawing
Academy classes
Arts, on the Embankment
Not you. There he tried
study the forms more strictly
human body and
make your hand more
free and obedient in
visible transmission
nature.
Often Fedotov as a student
attended academies
Hermitage Museum.

Peasant world of A.G. Venetsianov

"The threshing floor"
“At the harvest. Summer"
Self-portrait
"Shepherd with a pipe"
“On the arable land. Spring".
"The Shepherd Boy"

K. P. Bryullov

The picture made a great impression on Fedotov
Bryullov "The Last Day of Pompeii". She was exposed
at the Academy of Arts. And in 1840, Fedotov was allowed
was to become a student of Bryullov. But a student of Bryullov
Fedotov never did: he still did not believe in his talent.
Self-portrait
"Last day
Pompeii"

Fedotov - painter

Free time was running out
less, more and more often crept into the soul
doubt: maybe he will never be
a real artist?
Feeling an irresistible attraction to
art and taking the advice of I. A. Krylov
(which was one of his favorites
writers), he retired in 1844.
First, studying with A.I. Sauerweid, Fedotov
I thought about devoting myself to battle painting.
A brilliant old man who saw some
from Fedotov’s works, convinced him to quit
soldiers and horses and get busy
exclusively in the everyday genre.
That's what Fedotov did.
I. A. Krylov.

Fedotov's canvases

The artist locked himself in his studio almost hopelessly and redoubled his work on studying
techniques of painting and by the spring of 1848 he painted one after another, according to those already in his
album of sketches, two paintings: “Fresh gentleman” and “The picky bride”. Being
shown to K. Bryullov, then omnipotent at the Academy of Arts, they brought him to
Delight; thanks to him, and even more to their merits, they delivered Fedotov
from the academy the title of appointed academician.
So as not to end up alone
century,
Quite a beauty so far
hasn't bloomed
For the first one. who's coming to her
got married, went:
And I’m glad, I was really glad that
married a cripple.
I.A. Krylov
"The Picky Bride"
"The Picky Bride"

"Major's Matchmaking"

"Major's Matchmaking"
Main work
Fedotova - painting
"Major's Matchmaking"
(1848), depicting
scene of the officer's groom being received by the merchant
family. Here
one of the
most characteristic phenomena
Russian life of the 40s -
aspiration part
merchants rise to
public ladder
a step higher and with
on the other hand, desire
many representatives
bankrupt
nobility
improve your affairs
a profitable marriage.
"Major's Matchmaking" (1848),

"Aristocrat's Breakfast"

…Morning. In a richly decorated room
The young master is having breakfast. For breakfast at
him - a piece of black bread, and next to
chair - an advertisement for the sale of oysters.
Of course he would rather eat oysters, but
there is no money, and he stuffed his mouth with black bread.
Suddenly the poodle sensed a guest -
"aristocratic dog"
It was customary to keep them in secular houses.
The guest is still outside the door, but his hand is visible
glove grasping the curtain. U
young man has a frightened expression on his face: looking at
door, he covers the bread with a book.
Who is this young man? Empty
a slacker for whom the most important thing is
life - to be known as a rich gentleman, to shine
in the light, to be dressed to the nines
French fashion. He usually lives in
debt at someone else's expense.

"Widow"

While working on this painting,
Fedotov thought about his youngest
sister Lyubochka. She died
husband is an officer and nothing else
He didn’t leave her any debts. What
what awaits her in the future?
Hunger, poverty, bitter
the fate of a Russian woman -
officer's widow. Here she is
standing by the chest of drawers, her face
sad, thoughtful and
submissive. May be,
she buried yesterday
husband, and today to the house
creditors came. How
live?

“Anchor, more anchor!”

Small, as always with Fedotov,
unfinished painting canvas
“Anchor, more anchor!” is
to the viewer the everyday life of a Nikolaev officer
army serving in some remote corner of Russia.
Pointlessness and aimlessness
the existence of this person,
killing every living thing in it
feeling is the theme of the picture,
condemning the destructive influence,
which it had on a person
Nikolaev military system,
so familiar to Fedotov from
own experience.
Relaxed reclining pose
prone on the officer's bench, the red, feverish light of a lonely candle creates
a feeling of hopeless loneliness and emptiness of existence.

"Fresh Cavalier"

The first significant
Fedotov's work was
small painting "Fresh"
cavalier" (1846; Tretyakov Gallery) -
satirical image
complete moral and
spiritual insignificance
bureaucratic world
St. Petersburg and Moscow in the 40s.
Presented here
lively altercation
between an official, only
that got out of bed
after the feast, and he
cook, cheeky young
a woman. In all its guise
this sleepy, sloppy
dressed in a torn robe
person with
a newly received order
on the chest - indescribable
a mixture of swagger and
limitations.

Alexander Ivanovich Kuprin
There is an old and old proverb in the world:
"Tell me who you're with
I know you and I'll tell you who you are
that's how it is."
With no less meaning
one could perhaps say:
"Show me your place,
and I will determine yours
habits, yours
character".

The artist very often writes and draws himself: here he is a young, brilliant guardsman in full dress uniform; Here he is playing cards with his regimental comrades;

The artist writes and draws very often
himself: here he is a young brilliant guardsman in
full dress uniform; here he is playing cards with
regimental comrades; here he writes
portrait of the little dog Fidelka; his portrait
depicted on the chest of drawers next to the widow... And
every time he portrays himself, he seems to
laughs at himself, then good-naturedly, slyly,
that's sad.

The artist's last self-portrait.
This is the last self-portrait
Fedotova – gloomy and
hopeless, the eyes of an artist
restless, wary,
sick. “...I saw myself in
terrible hopelessness,
lost, felt some
nonsense every minute,” he wrote
then in an unsent letter
Yulenka Tarnovskaya.
Persistent poverty, long-term
overwork, nervous
tension and collapse
beautiful-hearted illusions
had a fatal impact.
In the spring of 1852 at Fedotov's
signs were discovered
mental disorder.
On November 14, the artist passed away.

Conclusion:

The name of this artist is well known
for art lovers. He is mostly known
according to his humorous and sarcastic
paintings. It is no coincidence that Fedotov was called
“Gogol in Russian painting”, and his
creative credo “picturesque anecdote”.
His life, like that of most painters

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2006.
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Beloshapkina Ya. Anchor, more anchor! // Art.- No. 13.-2009.
Beloshapkina Ya. Breakfast of an aristocrat // Art.- No. 13.-2009.
Beloshapkina Y. Pavel Fedotov // Art.- No. 13.-2009.
Beloshapkina Ya. Fresh gentleman // Art.- No. 13.-2009.
Beloshapkina Y. Matchmaking of a major // Art.- No. 13.-2009.

Fedotov Pavel Andreevich is a highly talented draftsman and painter, the founder of the humorous genre in Russian painting, the son of a very poor official, a former soldier of Catherine’s times. Fedotov Pavel Andreevich is a highly talented draftsman and painter, the founder of the humorous genre in Russian painting, the son of a very poor official, a former soldier of Catherine’s times.

From the artist's biography Pavel Andreevich was born in Moscow on June 22, 1815 on one of the outskirts of Moscow in Ogorodniki in the family of a titular councilor. The artist's father dreamed of a military career for his son. For the rest of his life, Pavlusha remembered the stories of his father, a former Suvorov soldier, about campaigns and battles.

From the history of the cadet corps of Russia Under Nicholas I, the most harmonious and rational system for organizing cadet corps and managing them took shape. In 1824, the Smolensk Cadet Corps, which arrived from Yaroslavl, was located in the Catherine Barracks in Moscow. At the same time, the corps was renamed the 1st Moscow Cadet Corps, which was classified as military educational institutions

first class.

Fedotov - officer Regimental life began. In the first months, Fedorov was fascinated by the life of the guards officers - feasts, cards, funny songs. But a little time passed, the novelty lost its charm. More and more often, behind the external splendor of parades, he saw the empty, thoughtless life of a guards officer.

Academy of Arts. Saint Petersburg. After three or four years of service in the regiment, the young officer began attending evening drawing classes at the Academy of Arts, on the Neva Embankment. There he tried to more strictly study the forms of the human body and make his hand more free and obedient in conveying visible nature. Fedotov often visited the Hermitage as a student at the Academy.

Fedotov - a painter Free time became less and less, doubt crept into his soul more and more often: maybe he would never be a real artist? Experiencing an irresistible attraction to art and accepting the advice of I. A. Krylov (who was one of his favorite writers), he retired in 1844. At first, while studying with A.I. Sauerweid, Fedotov thought of devoting himself to battle painting. The brilliant old man, who saw some of Fedotov’s works, convinced him to give up soldiers and horses and engage exclusively in the everyday genre.

That's what Fedotov did.

“Widow” While working on this painting, Fedotov thought about his younger sister Lyubochka. Her husband, an officer, died and left her nothing but debts. What does the future hold for her? Hunger, poverty, the bitter fate of a Russian woman - an officer's widow. Here she is standing by the chest of drawers, her face is sad, thoughtful and submissive. Maybe she buried her husband yesterday, and today the creditors came to the house. How to live?

“Fresh Cavalier” Fedotov’s first significant work was the small painting “Fresh Cavalier” (1846; Tretyakov Gallery) - a satirical depiction of the complete moral and spiritual insignificance of the bureaucratic world of St. Petersburg and Moscow in the 40s. Here we see a lively altercation between an official, who has just risen from his bed after a feast, and his cook, a cheeky young woman. In the whole appearance of this sleepy man, sloppily dressed in a torn robe with a freshly received medal on his chest, there is an indescribable mixture of arrogance and limitation.

There is an old, old proverb in the world: “Tell me who you know, and I will tell you who you are.”

This is Fedotov’s last self-portrait – gloomy and hopeless, the artist’s eyes are restless, wary, sick. “...I saw myself in terrible hopelessness, I was lost, I felt some kind of delirium every minute,” he wrote then in an unsent letter to Yulenka Tarnovskaya. Constant poverty, many years of overwork, nervous tension and the collapse of beautiful illusions had a fatal effect. In the spring of 1852, Fedotov showed signs of mental disorder. On November 14, the artist passed away.

Conclusion: The name of this artist is well known to art lovers. He is known mainly for his humorous and sarcastic paintings. It is no coincidence that Fedotov was called “Gogol in Russian painting”, and his creative credo “a picturesque anecdote”. His life, like that of most painters of that time, was difficult: poverty, illness, constant struggle for existence and a tragic early end. We are left with his interesting work.

Results What facts of Fedotov’s life interested you? Which of Fedotov's great contemporaries influenced his life and work? Name the artist's most famous paintings. Fedotov became the founder of what direction of Russian painting?

Bibliography Fedotov: Album / Author-comp. E.D. Kuznetsov. – M.: Image. art, 1990. - 64 p. BECM is a large computer encyclopedia of Cyril and Methodius Danilov G.I. World artistic culture: from the 17th century to the present. Profile level: academic. For 11th grade..- M.: Bustard. 2006. Karpova T. Pavel Fedotov: scenes from ordinary life. // “Peasant Woman.” - 1997. - No. 4 Sher N.S. Stories about Russian artists. M.: Det. Lit. – 1966.- P.7-52 Beloshapkina Ya. Anchor, more anchor! // Art.- No. 13.-2009. Beloshapkina Ya. Breakfast of an aristocrat // Art.- No. 13.-2009. Beloshapkina Y. Pavel Fedotov // Art.- No. 13.-2009. Beloshapkina Ya. Fresh gentleman // Art.- No. 13.-2009. Beloshapkina Y. Matchmaking of a major // Art.- No. 13.-2009.

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