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Slide 1
Center for ART - Education All-Russian competition “Pride of the Fatherland”: Anniversaries of Russia in 2013 (history and culture) Presentation for a history lesson. Presentation topic: “Vasily Grigorievich Perov - an outstanding genre painter of the 19th century (on the 180th anniversary of the artist’s birth).” Vitvitskaya Lyubov Mikhailovna, history teacher Alexandra Arshinova, 9a grade student at MBOU Secondary School No. 4, Kolchugino, Vladimir Region. website
Slide 2
Perov is one of the best Russian painters of modern times, born in Tobolsk on December 23, 1833. (The real surname is Kridener. The surname “Perov” arose as a nickname that was given to the future artist by his literacy teacher, an ordinary sexton). Perov Vasily Grigorievich (1833-1882) “Self-portrait”, 1851
Slide 3
Perov received his first painting lessons at the Arzamas school of A.V. Stupina - the best provincial art school of that time.
While there, in addition to copying originals, he began to try his hand at composition and painting from life for the first time and painted the painting “The Crucifixion.” Upon completion of the work, the sixteen-year-old artist donated it to the church of the neighboring village of Nikolskoye as an altarpiece (located in the church of the village of Nikolskoye, Arzamas district). Monument to Stupin in Arzamas
. In 1856, for a sketch of a boy's head presented at the Imperial Academy of Arts, he received a small silver medal. This award was followed by others awarded to him by the Academy: in 1858 - a large silver medal for the painting "The Arrival of the Stanovoy for Investigation", in 1860 - a small gold medal for the paintings "Scene at the Grave" and "The Sexton's Son, Received the First Rank", in 1861 - a large gold medal for “Preaching in the Village.” “First rank. The son of a sexton, promoted to collegiate registrar”, 1860 Excellent figure of a barefoot official, on whom a uniform tailcoat is being tried on.
Slide 5 different tempers, for youth and old age, for poverty and wealth,” this is how the artist explained the idea of the canvas. “Sermon in the Village,” 1861
Slide 6
Simultaneously with “The Sermon,” Perov painted two paintings: “Tea Party in Mytishchi, near Moscow,” where an obese monk is surprisingly typical, and “Rural procession at Easter.” The last picture shows everyone completely drunk. The rural priest grabbed hold of the porch column and could barely hold the cross in his other hand; The deacon completely collapsed on the threshold, floundering and could not get up. “Tea drinking in Mytishchi, near Moscow”, 1862 “Rural religious procession at Easter”, 1861
Slide 7
Having received, along with a large gold medal, the right to travel to foreign lands at public expense, Perov went there in 1862. He visited the main art centers of Germany and spent about two and a half years in Paris. Here he made sketches from life and painted several paintings depicting local types and scenes of street life (“Seller of Figurines”, “Savoyard”, “Organ Grinder”, “Parisian Rag Pickers”, “Beggars on the Boulevard”, “Musicians and Onlookers”, and etc.), but soon became convinced that the reproduction of unfamiliar, foreign customs was not as successful for him as the depiction of his native, Russian way of life. The Academy allowed him to return to Russia a year before the end of the appointed period. “Savoyard”, 1863-1864 “Organ grinder”, 1863 “Parisian rag pickers”, 1864
Slide 8
After his arrival in Moscow, the artist created increasingly expressive and full of deep meaning human tragedies: “Seeing off the Dead Man” (1865), “The Arrival of a Governess at a Merchant’s House” (1866). “Seeing off the deceased”, 1865 “The arrival of a governess at a merchant’s house”, 1866
Slide 9
Perov is attracted to the cold, gloomy scenes of city life.
His painting “Troika” (1866), depicting little apprentices, is famous. Exhausted, the children pull an icy barrel of water. In the painting “The Drowned Woman” (1867), Perov depicted a policeman on duty near the body of a dead woman.
Perov’s activities and coincides with the beginning of the activities of the Association of Traveling Exhibitions.
In Perov’s paintings of the 60s, everything - composition, color, and always the harsh landscape - was aimed at expressing his main thoughts, and - as Stasov said very well - everything in them is “strict, important and painful.” But how often Perov was prevented from working; how often he indignantly waved away nonsense conversations, newspaper articles in which he was accused of not loving his fatherland if he showed it in such a “disgusting” light, that he, “no matter what the picture, is a tendency and protest “, that “wouldn’t it be better for an artist to work in the name of pure art. " Clean Monday", 1866 "Queue at the pool", 1865
Slide 12
One of the artist’s highest achievements is “The Last Tavern at the Outpost” (1868). This is a picture of great emotional tension, unusually complete in its own way. artistic solution. On the outskirts of the city, at the last tavern, two harnessed sleighs stopped. The peasant woman who remained in the sleigh has been waiting for her spree husband for a long time. The last street of the city runs off into the distance, towards the outpost, behind which the world of the village begins. The landscape is imbued with a feeling of melancholy and loneliness. Evening twilight, the overall tone is gray-brown, and only the snow-covered windows of the tavern are illuminated from the inside by an alarming light, and the cold yellow streak of sunset burns out on the horizon behind the outpost pillars, revealing a boundless distance.
Slide 13
Perov devoted a lot of energy and time to social work. He was a member of the Moscow Society of Art Lovers and a member of the committee of this society. “...I find that I positively do not have the right to refuse such an honorary title. Therefore, I hasten to express to you my gratitude, as well as my readiness to serve for society and for its good purposes...” - he wrote in response to his election. And, despite his busy schedule, he was very conscientious about his duties and participated in all the affairs of society. When in 1869 the artist Grigory Grigorievich Myasoedov proposed organizing a partnership to organize exhibitions by the artists themselves, Perov was the first to seize on this idea. But in those years it was not so easy to obtain permission to set up such a partnership. Tsarist officials, who constantly prohibited the exhibition of paintings by unwanted artists, did not approve of the new society; the Academy of Arts also did not like this idea much. “Portrait of the historian Mikhail Petrovich Pogodin”, 1872
Slide 14
Perov, Myasoedov, Kramskoy and other artists decided not to retreat. Endless troubles began. A year later, permission was received, and then the charter of the partnership was approved. It was necessary to prepare for the first exhibition, which was supposed to open in St. Petersburg. The year in which conversations about a new partnership began was one of the most difficult in Perov’s personal life: in one year his wife and two older children died, leaving only one youngest son. It was difficult to come to terms with this, and only boundless love and devotion to art, and the support of friends helped Perov overcome grief and find the strength to work.
Since 1871, the TPHV has organized 48 traveling exhibitions in St. Petersburg and Moscow, which were then shown in Kyiv, Kharkov, Kazan, Orel, Riga, Odessa and other cities.
Slide 15
At the traveling exhibition of 1871, two excellent paintings by Perov were exhibited - “Fisherman” and “Hunters at a Rest”. These paintings represent a direct continuation of beautiful genre subjects. “Fisherman”, 1871 “Hunters at a rest”, 1871
Slide 16 The achievements of Perov, a portrait painter, are significant. Portraying prominent figures
Russian culture, the artist was able to reveal their complex inner world and high spirituality. The portrait of F.M. Dostoevsky (1872) is widely known; the portrait of A.N. Ostrovsky (1871) and the portrait of V.I. Dahl (1872) have received well-deserved recognition. Portrait of Dostoevsky Portrait of Ostrovsky Portrait of Dahl
His fascination with the historical novels of Salias and Karnovich gave Perov the idea of writing two large historical paintings - “The Court of Pugachev” (1873, unfinished) and “Nikita Pustosvyat. Dispute about faith." He remade the first one several times, and he himself remained dissatisfied with it. Pugachev sits on the porch of the landowner's house, surrounded by a crowd of his associates, whose robber faces are extremely characteristic. There is an oath ceremony, which is performed by a pitiful, unhappy priest, shaking with fear. In the courtyard, in front of Pugachev, there is a crowded crowd of people, in the forefront of which stands the landowner family, whose members, some with despair, some with firmness and courage, are awaiting a decision on their fate. In the background, gallows are silhouetted against the ominous background of the fire. The leader of the uprising is contrasted with a proud, imperious landowner, looking at “Emelka” with anger. Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey reprisals against the landowners. The artist carefully prepared for the implementation of his creative plan: he read a lot about the Pugachev uprising, traveled to the Volga and the Urals, sketched types there (“Head of a Kyrgyz”, “Head of a Tatar”), and made sketches for Pugachev. But out of the entire triptych, he managed to paint only the third picture - “Pugachev’s Court”.
Slide 18
"Pugachev's Court"
Slide 19
Throughout his life, Perov turned to literary creativity. It is impossible not to mention his stories, which are as piercing and deep as his paintings. Perov reflected the stories of the creation of some of his paintings in a series of stories, in particular about the “Troika” - in the story “Aunt Marya”, about the “Drowned Woman” - “On Nature. Fanny at No. 30.” IN life, having moved away from the Partnership, Perov practically abandoned all exhibition activities - “Nikita Pustosvyat” became known to the general public after the artist’s death. Some idea of Perov’s state of mind at this time is given by such paintings as “Wanderer in the Field (On the Path to Eternal Bliss)” and “Return of Peasants from a Funeral in Winter.” The artist increasingly thinks about his imminent death, and perceives creative failures more and more painfully. He teaches at the Moscow School of Painting, Sculpture and Architecture; among his students are M.V. Nesterov, A.P. Ryabushkin. S.A. Korovin, N.A. Kasatkin, A.E. Arkhipov. He supports and takes care of his friend, the great landscape painter A.K. Savrasov. Evidence of this friendship can be considered an unfinished portrait of Savrasov by Perov.
Slide 20
The most significant painting by Perov historical topic, and surpassing the others in size - “Nikita Pustosvyat”. Before us is the Chamber of Facets. Nikita, enraged by the argument and a successful blow to the head of the Suzdal Metropolitan Athanasius, who fell backward on the steps of the throne, advances on the patriarch with clenched fists. His figure alone is worthy of a whole picture; in all of Russian painting one cannot find another like it, where the character of this fanatic of the schism could be so amazingly correctly guessed. Around him is a crowd of schismatics who have come with him to defend the common cause. It consists of all kinds of types, different expressing their sympathy for Nikita’s act, rushing to rid him of the invaded archers. The picture is full of movement and drama.
Slide 21
In 1881, Perov suffered from typhus and pneumonia, and his health condition worsened. The artist's friends tried to help him. L.N. Tolstoy brought to him the famous doctor Zakharyin, P.M. Tretyakov, with whom Perov was friends throughout his life, invited him to live at his dacha in Kurakino. In May, the seriously ill Perov was transported to a hospital in Kuzminki near Moscow, where the artist’s brother worked as a resident. On the eve of his death, Perov wrote his last letter to Tretyakov: “Dear and kind friend Pavel Mikhailovich, I kiss you... and thank you from the bottom of my heart for everything that you have done and are doing for me... Your Perov. All hope is in God." On May 29 (old style), 1882, the artist died in the hospital.
Portrait of Tretyakov.
Perov was buried at the Danilovsky cemetery in Moscow. In the 1930s, his ashes were transferred to the Donskoy Monastery cemetery. Always modest, thinking little of himself, he did not highly value his works and, despite the modest demands that he made on life, he left nothing behind him except debts. A whole century separates us from the moment when Perov’s life was cut short. For these
long years
Many great masters have appeared, many once great names have been forgotten. But the art of Vasily Grigorievich Perov, a magnificent artist-storyteller and “high moral personality,” remains alive and relevant. Perov was the first talented follower of Fedotov, and the subsequent generation of genre artists, led by the talented Vladimir Makovsky, was brought up on his works. One of the stories written by Perov says: “An artist who knows and loves his art leaves behind creations that pass on to posterity and live there for a long time.” These words rightfully apply to the work of Perov himself. Inveterate, 1873 Self-portrait
Slide 23 Slide 24 Literature and Internet resources. 1. Masterpieces of Russian painting. Encyclopedia of world art. From “White City”, 2006, p.162-174 2. Aleksandrov V.N. History of Russian art. Minsk “Harvest” 2007, pp. 441-444. 3. Roginskaya F.S. Association of Traveling Art Exhibitions: Historical Essays. M., 1989. 4. Sarabyanov D.V. History of Russian art second
half of the 19th century
century: Course of lectures. M., 1989. http://literatura5.narod.ru/dostoevskiy1.html http://www.bibliotekar.ru/Kartiny2/10.htm http://www.tanais.info/art/perov13more.html http: //upload.wikimedia.org/wikipedia/commons/4/48/Perov_V_G_DonM.jpg?uselang=ru http://tphv.ru/perov_obuhov18.php http://www.hydojnik.ru/Perov/ http:// commons.wikimedia.org/wiki/File:Perov_V_G_DonM.jpg?uselang=ru http://tphv.ru/perov_sher18.php
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Perov Vasily Grigorievich Prepared a presentation
teacher
primary classes
MBOU secondary school No. 12
urban district of Vyksa
century: Course of lectures. M., 1989. http://literatura5.narod.ru/dostoevskiy1.html http://www.bibliotekar.ru/Kartiny2/10.htm http://www.tanais.info/art/perov13more.html http: //upload.wikimedia.org/wikipedia/commons/4/48/Perov_V_G_DonM.jpg?uselang=ru http://tphv.ru/perov_obuhov18.php http://www.hydojnik.ru/Perov/ http:// commons.wikimedia.org/wiki/File:Perov_V_G_DonM.jpg?uselang=ru http://tphv.ru/perov_sher18.php (1833-1881)
- Nizhny Novgorod region Shcherbatova Svetlana Nikolaevna
- Russian artist Vasily Grigorievich Perov was born in Tobolsk December 23, 1833. Vasily's father Grigory Karlovich Kridener was a prosecutor, owned several
- Little Vasily's mother taught him to read and write very early. The boy continued his studies with a local sexton, who gave him the nickname for his success in penmanship Perov . Subsequently, this nickname was adopted by the artist as a surname.
- Perov developed an interest in painting at the age of nine. When the family lived under Arzamas, a local artist was once invited to the house to touch up an old portrait of his father. The boy was so captivated by the process of the artist’s work that he became interested in drawing. Vasily's parents encouraged his hobby.
- After studying for three years at the Arzamas district school, 1846 Perov entered the famous art school A.V. Stupina. However, Perov never finished art school: having quarreled with his comrades, he went to the village to live with his parents and never appeared at school again. Nevertheless, the young man did not give up painting.
- Living in the village, a young artist paints a picture "Crucifixion" which he donated to the nearest village.
- IN 1851 Perov paints a self-portrait and portraits of his parents.
- IN 1853 the artist goes to Moscow, where he enters the Moscow School of Painting, Sculpture and Architecture. Among his teachers at the School were E.Ya. Vasiliev, A.N. Mokritsky and S.K. Zaryanko.
- After some time, due to severe financial situation Perov almost quits school. Helped him in difficult times Egor Yakovlevich Vasiliev . Friendship with fellow students, the famous Russian landscape painter, also helped the young artist not to lose heart I.I. Shishkin and the outstanding genre painter I.M. Pryanishnikov, with whom he had to take turns wearing the same fur coat. Despite all the difficulties, Perov continued to study hard.
IN December 1856 Vasily Grigorievich was awarded the Second Silver Medal for his work “Head of a Boy”. IN 1857 artist paints pictures “Grandmother and granddaughter” and “Arrival of the police officer for investigation.” The last work was awarded by the Academy Council with a Great Silver Medal. Perov's next work "First rank" written in 1860 , was awarded a Small Gold Medal.
- IN early 1863 Vasily Grigorievich goes on a business trip abroad. Perov first visits Germany and then France. During the year and a half spent in Paris, the artist painted small sketches, the most characteristic of which is "The Blind Musician" (1864). Of the most famous works from this period we note the picture "Savoyar" (1863-64), graphic sheet "Funeral in a poor quarter of Paris" (1863), a number of sketches and sketches:“Parisian rag pickers”, “Organ grinder on the boulevard in Paris”, “Holiday in the vicinity of Paris”, “Street scene in Paris”, “Song seller”, “Organ grinder”, “Italian selling figurines”.
- IN 1864 Perov returns to Moscow ahead of schedule from a business trip abroad.
- 1870s - the heyday of Perov’s creativity. Among best works this period - paintings“Seeing off the Dead Man” (1865), “The Drowned Woman” (1867), “The Last Tavern at the Outpost” (1868), “Troika” (“Apprentice Craftsmen Carrying Water,” 1866), “The Governess’s Arrival at the Merchant’s House” (1866) .
- A special feature of Vasily Grigorievich’s work is that he wrote stories about the lives of the heroes of his paintings. The paintings were successfully exhibited at the World Art Exhibition in Paris.
- IN 1866 Perov receives the title of academician. IN 1870 artist paints a picture "Birdcatcher" for which he was awarded the title of professor.
- IN 1870 The artist suffered great personal grief: his family died from the epidemic.
- IN 1870s Vasily Grigorievich turns to the portrait genre.
- The artist paints portraits of representatives of the Russian intelligentsia: philologist V.I. Dahl, doctor and writer V.V. Bessonov, poet A.N. Maykov, writer A.N. Ostrovsky, historian and writer M.N. Pogodin, writer I.S. Turgenev.
- Portrait of the Russian writer F.M. Kramskoy called Dostoevsky one of the best portraits of the Russian school of painting.
Portrait of A. N. Maykov.
Portrait of I. M. Pryanishnikov.
- WITH 1871 Perov teaches at the Moscow School of Painting, Sculpture and Architecture.
- Among his students were future famous artists M. V. Nesterov, A. P. Ryabushkin, I. I. Levitan, Korovin brothers.
Paintings by V.G. Perov
Young woman
- At the end of 1881, typhus and pneumonia finally undermined his health.
- V. G. Perov died from consumption in a small hospital near Moscow on the estate Kuzminki (now the territory of Moscow).
- He was buried in the monastery cemetery in the Danilov Monastery.
- His ashes were reburied in the monastery cemetery in Donskoy Monastery
- The exact date of reburial has not been established.
- A monument by sculptor Alexei Evgenievich Yeletsky was erected at the artist’s new grave.
- His son - Vladimir Perov - was also an artist.
Thank you
Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. "The constant desire to life's truth, full of painful doubts, difficult internal breakdown, sometimes severe disappointment did not leave Perov until recently. This is the secret of the charm that he had..." (Botin B.N.)
The emergence of a broad movement of critical realism in Russian painting was prepared in the 1920s by a part of Russian society that absorbed the prose of N.V. Gogol, poetry by N.A. Nekrasova, aesthetic views of N.G. Chernyshevsky. Fine arts a push was needed so that the depiction of the life of disadvantaged compatriots would be realized on canvas. Such an impetus was the work of Vasily Grigorievich Perov. Critical realism artistic method And literary direction which developed in the 19th century. Its main feature is the depiction of human character in organic connection with social circumstances, along with deep social analysis inner world person.
Born on December 21, 1833 in Tobolsk. son of Baron G. K. Kridener. The surname “Perov” arose as a nickname given to the future artist by his literacy teacher, a junior sexton. He completed a course at the Arzamas district school and was sent to the art school of A.V. Stupin (also in Arzamas). Vasily Perov. Self-portrait Vasily Perov. Self-portrait
In 1853 he entered the Moscow School of Painting, Sculpture and Architecture, where he studied with M. I. Scotti, A. N. Mokritsky and S. K. Zaryanko. In 1856 he received a small silver medal for a sketch of a boy’s head submitted to the Imperial Academy of Arts. Subsequently, the Academy awarded him other awards: a large silver medal for the painting “The Arrival of the Stanovoy for Investigation” (1858), a small gold medal for the paintings “Scene at the Grave” and “Son of a Sexton Promoted to the First Rank” (1860), a large gold medal for the painting “Sermon in a Village” (1861).
In 1861, for the painting “Sermon in a Village,” Perov received a large gold medal and the right to travel abroad at public expense; in 1862, he went to Europe, visiting a number of cities in Germany, as well as Paris. This period includes paintings depicting European scenes of street life (“Seller of Figurines”, “Savoyard”, “Parisian Organ Grinder”, “Beggars on the Boulevard”, “Musicians and Onlookers”, “Parisian Rag Pickers”).
Sermon in the village of Parisian rag pickers
Returning ahead of schedule to Moscow, Perov from 1865 to 1871 created the paintings “Another at the Fountain”, “Monastery Meal”, “Seeing Off the Dead Man”, “Troika”, “Clean Monday”, “The Arrival of a Governess at a Merchant’s House”, “Art Teacher”, “ Scene at railway", "The last tavern at the outpost", "Birder", "Fisherman", "Hunters at rest".
and Karnovich gave Perov the idea of writing two large historical paintings - “The Court of Pugachev” (1873, unfinished) and “Nikita Pustosvyat. Dispute about faith." He remade the first one several times, and he himself remained dissatisfied with it. Pugachev sits on the porch of the landowner's house, surrounded by a crowd of his associates, whose robber faces are extremely characteristic. There is an oath ceremony, which is performed by a pitiful, unhappy priest, shaking with fear. In the courtyard, in front of Pugachev, there is a crowded crowd of people, in the forefront of which stands the landowner family, whose members, some with despair, some with firmness and courage, are awaiting a decision on their fate. In the background, gallows are silhouetted against the ominous background of the fire. The leader of the uprising is contrasted with a proud, imperious landowner, looking at “Emelka” with anger. Perov set a very difficult task - to write a triptych in which he intended to unfold the history of the Pugachev uprising. In the first picture of the triptych, he wanted to reveal the causes of the uprising, in the second - to depict the uprising itself, and in the third - to convey reprisals against the landowners. The artist carefully prepared for the implementation of his creative plan: he read a lot about the Pugachev uprising, traveled to the Volga and the Urals, sketched types there (“Head of a Kyrgyz”, “Head of a Tatar”), and made sketches for Pugachev. But out of the entire triptych, he managed to paint only the third picture - “Pugachev’s Court”.