Alekseev Fedor Yakovlevich is the first master of urban landscape in Russian painting.
In 1766-73. studied at the Academy of Arts, first in the class of “painting flowers and fruits”, then in landscape painting. In 1773, he received a gold medal for a programmatic landscape and was sent to Venice for three years to paint theatrical scenery, although this did not suit his inclinations.
“View of the Peter and Paul Fortress and Palace Embankment”
1799.
Oil on canvas 71.5 x 109
Saint Petersburg
The following year, the artist was sent to Novorossiya and Crimea to paint views of the places that Catherine II visited in 1787. This is how landscapes of southern cities appear - Nikolaev, Kherson, Bakhchisarai. 
"View of the city of Nikolaev"
1799
Oil on canvas 197 x 178
Moscow
Repeating the empress’s route, Alekseev made sketches and watercolor sketches. The paintings were painted by him after his return. The city of Nikolaev is a Little Russian city, a sea and river port, founded during the Russian-Turkish War of 1787–1791 by order of Prince G.A. Potemkin. In 1788, a shipyard was built here for the construction of ships, thanks to which the city became an important port and administrative center. The painting depicts a view of Nikolaev from the Ingul River. On the banks of the river in the depths on the left is the Admiralty Cathedral, in the center you can see the buildings of the Black Sea Admiralty Board, on the right is a complex of service buildings of the maritime department. There are slipways for storing rowing boats near the water. To the left of them is a striped booth at the Moscow Outpost.
"View of the city of Bakhchisarai"
1798
Canvas, oil. 197 x 178.5 cm
State Russian Museum
Saint Petersburg
Russia
"Square in Kherson"
Paper, watercolor, Italian pencil
1796 - 1797
Oil on canvas 23 x 40
State Tretyakov Gallery
Moscow
In 1800, Emperor Paul I gave Alekseev the task of painting views of Moscow. The artist became interested in old Russian architecture. He stayed in Moscow for more than a year and completed a large number of sketches from life, from which he later created a series of paintings. He brought from there a number of paintings and many watercolors with views of Moscow streets, monasteries, suburbs, but mainly various images of the Kremlin. These types are distinguished by their authenticity, even documentation. Moscow works attracted numerous customers to Alekseev, among whom were the most distinguished nobles and members of the imperial family.
"Red Square in Moscow"
1801.
Canvas, oil. 81.3 x 110.5 cm
The landscape recreates the appearance of the capital of the capital at the turn of the 18th–19th centuries. The majestic monuments of medieval architecture are the main “heroes” of the picture. Many verticals - churches, bell towers, towers - are balanced by the calm horizontal format of the canvas. This composition likens the space of a square to a grandiose theater stage. In the center of Red Square are St. Basil's Cathedral and Lobnoe Mesto. The Kremlin wall and the Spasskaya Tower close the right side of the picture. In the foreground on the left is the building of the Main Pharmacy, as well as the shopping arcades. To the right of the tower, behind the wall, rise the heads of the Ascension Monastery, and to the left is the tent of the Tsar's Tower. The artist not only “lists” the numerous and varied buildings of the ancient capital, but also tries to create a holistic, unified image of the city. The people filling the square, as well as carefully drawn numerous and expressive details - trading shops, carriages, carts, horses, dogs - everything participates in revealing the image of the city, bringing warmth and humanity to it.
In Moscow, Alekseev is interested, first of all, in ancient architecture, the unique flavor of the city, which has developed over centuries. As a true classicist artist, and also a theater decorator by training, Alekseev unfolds before the viewer a majestic, but very clear, easily readable scene, where ancient buildings act as the main characters, and walking Muscovites are assigned the role of extras.
The figures of people in the foreground are larger than in “View of the Exchange and the Admiralty from the Peter and Paul Fortress” (1810). In their appearance and clothing, the artist notices patriarchal details and features that are still reminiscent of the traditional ancient Russian way of life, but from the point of view of St. Petersburg fashion they seem archaic. Alekseev, a St. Petersburg master trained in Italy, looks at the city through the eyes of a European foreigner.
A similar attitude towards Moscow was expressed by the artist’s contemporary, poet K.N. Batyushkov: “A strange mixture of ancient and modern architecture, poverty and wealth, European morals with Eastern morals and customs!” 
“View of the Moscow Kremlin from the Kamenny Bridge”
Canvas, oil. 63 x 103 cm
State Russian Museum
View of the Vladimir (Nikolsky) Gate of Kitay-Gorod. 1800s
“View of the Resurrection and Nikolsky Gates and Neglinny Bridge from Tverskaya Street in Moscow”
1811
Oil on canvas 78 x 110.5
State Tretyakov Gallery
Moscow
The majestic monuments of medieval Moscow architecture are the main “heroes” of Alekseev’s landscape. In the foreground, the artist depicted a bridge over the Neglinka River leading to the Resurrection (Iversky) Gate with two hipped towers and the Iversky Chapel between the passages. Adjacent to the gate is the Main Pharmacy building, which originally housed the university. On the right is the Arsenal Tower of the Moscow Kremlin. Between the Resurrection Gate and the Arsenal Tower is part of the Kitai-Gorod Wall. The Mint building is visible on the left. Sunlight colors the entire landscape in warm, golden tones. By carefully peering at the images of numerous townspeople crowding the square, you can get an idea of the appearance of Muscovites at the turn of the 18th-19th centuries. Carriages, carts, riders on horses, dogs - all this seems important to the artist in creating the image of the capital. Gift of P.A. Buryshkin in 1917.
"Cathedral Square in the Moscow Kremlin"
Oil on canvas 81.7 x 112
State Tretyakov Gallery
Moscow
In the painting, the artist depicts Cathedral Square - the main and most ancient ensemble of the Kremlin, whose unique architectural appearance had already been formed by the beginning of the 16th century. In the center of the composition, in the depths of the square, is the Assumption Cathedral, the main temple of the Moscow state, where Russian autocrats were crowned kings. Behind it you can see the Church of the Twelve Apostles, the Miracle Monastery and the Senate building. On the right is the Ivan the Great Bell Tower complex, which was created over more than a hundred years. Directly behind the bell tower you can see the Spasskaya Tower and nearby the Tsarskaya Tower. The heads of the Intercession Cathedral (St. Basil's Cathedral) peek out from behind the wall. In the foreground on the left is the building of the Faceted Chamber with the Red Porch, on the right is a fragment of the western facade of the Archangel Cathedral.
Illumination on Cathedral Square in honor of the coronation of Emperor Alexander I. 1802
View from Lubyanka to the Vladimir Gate. 1800s
View of the Church of the Grebnevskaya Mother of God and the Vladimir Gate of Kitay-Gorod. 1800s
View of the Church of St. Nicholas the Great Cross on Ilyinka
Ivan the Great belltower. 1800s
Moskvoretskaya street with people. 1800-1802
Feast of the Icon of the Kazan Mother of God on Red Square
“Boyar platform or Bed porch and the Temple of the Savior behind the golden bars in the Moscow Kremlin”
1810
Canvas, oil. 80.5 x 110.5 cm
State Tretyakov Gallery
Square in front of the Assumption Cathedral in the Moscow Kremlin
View of the Orphanage. 1800s
Boyarskaya site in the Moscow Kremlin. 1810s
View of Moscow from the Trinity Gate of the Kremlin. 1810s
View in the Kremlin of the Senate, Arsenal and Nikolsky Gate
View of St. Basil's Cathedral from Moskvoretskaya Street
Strastnaya Square
Kremlin. Trinity and Kutafya towers. On the right is St. Nicholas Church in Sapozhka
Trinity-Sergius Lavra
View of Moscow
In the 1800s Alekseev, already the head of the class of perspective painting at the Academy of Arts (since 1802), again returned to his favorite theme of St. Petersburg. But now the artist’s passion for the harmony of the integral space of paintings has been replaced by a great interest in the world of people and their lives against the backdrop of the same beautiful palaces and the wide Neva. The noise of the city seemed to appear in his works. People with their daily activities now occupy the entire foreground of the canvases. The shapes became clearer, more voluminous, heavier, the color became significantly warmer, and the painting acquired a special density. These are the "View" Promenade des Anglais from Vasilievsky Island", "View of the Admiralty and Palace Embankment from the First cadet corps", "View of the Kazan Cathedral in St. Petersburg", "View of the Spit of Vasilievsky Island from the Peter and Paul Fortress"
View of the Mikhailovsky Castle and Constable Square in St. Petersburg Around 1800
“View of the Mikhailovsky Castle in St. Petersburg from the Fontanka”
Around 1800
Canvas, oil. 156 x 185 cm
State Russian Museum
Saint Petersburg
Russia
The painting was painted in the year the construction of the Exchange building was completed, thanks to which the famous architectural ensemble of the central part of St. Petersburg was finally formed. The artist sought to represent the capital Russian Empire an exemplary city in which nature and the creations of human hands merged together. The semantic emphasis in the composition is occupied by the Exchange building. An architecturally designed descent leads from it to the Neva. To the left of the Exchange is the rostral column. Behind the Exchange is the building of the Twelve Collegiums. The opposite bank of the Neva is built up with palaces and administrative buildings: in the depths is the old Senate building (formerly the house of A.P. Bestuzhev-Ryumin), the Admiralty with the domes of the Church of St. Isaac of Dalmatia rising from behind it. The Winter Palace is visible on the left side of the picture. Along the wide water surface of the Neva, which was called the main avenue of St. Petersburg, many large and small ships glide. 
“View of the Exchange and the Admiralty from the Peter and Paul Fortress”
1810
Canvas, oil. 62 x 101 cm
State Art Gallery.
Alekseev uses a classicist principle in constructing the composition, juxtaposing the foreground, marked by a brown left corner and a dark cloud on the right, and a greenish-blue open space in the depths.
The Exchange building is presented slightly to the right, so that a spectacular panorama of the Neva appears in the center of the composition. In the background, the Winter Palace and the Admiralty form a single ensemble with the sky and the river, as if affirming the most important idea of the harmony of mind and nature for the Age of Enlightenment.
The artist shows St. Petersburg as his contemporaries saw it, as the ideal capital of an enlightened state. Poet K.N. Batyushkov wrote: “Now look at the embankment, at these huge palaces, one more majestic than the other! At these houses, one more beautiful than the other! Look at Vasilievsky Island, [...] decorated with the stock exchange, rostral columns and granite embankment [...]. How majestic and this part of the city is beautiful! [...] Now from the stock exchange with what pleasure my gaze follows along the banks and gets lost in the distance between two embankments, the only ones in the world!
November 7, 1824 on the square Bolshoi Theater. 1824
Gradually the public forgets the aging artist. This wonderful painter, who had proven his right to be a landscape painter through many years of hard work, died in great poverty, leaving a large family. The Academy was forced to give money for his funeral and benefits to his widow and small children.
Fyodor Yakovlevich Alekseev can rightfully be considered creator of the city landscape in Russian painting. Having mastered in Italy all the secrets of the craftsmanship of his famous contemporaries, the Venetian landscape painters - Canaletto, Belotto and Guardi, the young artist returned to his homeland and was fascinated by the austere and slender beauty of St. Petersburg. He was able to feel the scale of the capital on the Neva, and this gave his canvases a special solemnity and elation.
“Portrait of the artist and teacher of the Academy of Arts Fyodor Yakovlevich Alekseev.” Terebenev M.I. 1820
The dim northern light, the high pale sky, and the humidity of the air determined the exquisite silvery-blue palette of his best landscapes. But even among his masterfully executed paintings, the landscape of the Palace Embankment from the Peter and Paul Fortress stands out for its subtlety and poetry, which does not interfere with the documentary accuracy in the depiction of architecture.
Behind the wide mirror of the full-flowing Neva, along which boats and rafts silently glide, magnificent palaces and the continuing fence of the Summer Garden are lined up along the embankment.. The clarity of the lines is softened by distance, moisture-saturated air, and their reflections in the river tremble and melt. This classic view of St. Petersburg evokes a feeling of grandeur and at the same time grace. The State Tretyakov Gallery came from the collection of Alexander Sergeevich Taneyev.
“View of the Palace Embankment from the Peter and Paul Fortress” 1794. Fyodor Alekseev. Tretyakov Gallery
Painting:
Artist: Fyodor Yakovlevich Alekseev (1753/55 – 1824)
Date of painting: 1794
Painting dimensions: 70X108 cm
Permanently exhibited: Tretyakov Gallery. Lavrushinsky lane, 10, hall 6
“View of the Palace Embankment from the Peter and Paul Fortress” in the halls of the Tretyakov Gallery
About this painting, now kept in the Tretyakov Gallery, the poet Konstantin Batyushkov wrote with admiration: “ Look now at the embankment, at these huge palaces, each more majestic than the other! These houses are one more beautiful than the other! …How majestic and beautiful this part of the city is!»
Fedor Alekseev. “View of the Mikhailovsky Castle in St. Petersburg from the Fontanka.” Around 1800
The foreground of the picture is occupied by the wall of the Peter and Paul Fortress. Turning to the urban landscape, Fyodor Alekseev created an ideal harmonious world in the picture. Water, air and architecture merge into one inextricable whole. Poetry and noble, restrained admiration fill the landscape. A contemporary of the artist wrote enthusiastically about “harmony and transparency, which constitute the main advantage of his brush.”
“View from Lubyanka to the Vladimir Gate.” Fyodor Alekseev Around 1800. Central Museum of A.S. Pushkin, St. Petersburg
Academician of the Imperial Academy of Arts Fyodor Alekseev- the first master of urban landscape in Russian painting. In lyrical paintings executed with great subtlety, he captured the austere appearance of St. Petersburg, the picturesque beauty of Moscow, and the poetry of everyday city life.
From 1803 until the end of his life, Fyodor Alekseev taught perspective painting in the landscape class of the Academy of Arts. His students were famous artists and future eminent teachers M.N. Vorobyov, F.F. Shchedrin, S.F. Shchedrin.
“Red Square in Moscow” Fedor Alekseev. 1801. Tretyakov Gallery
Unfortunately, the end of the life of the honored master was sad. He died in poverty November 11, 1824, three days after creating his last sketch of the flood in St. Petersburg (near the Bolshoi Theater). He was buried at the Smolensk Orthodox Cemetery in St. Petersburg. The Academy of Arts allocated money for the funeral and assistance to a large family.
View of the Palace Embankment from the Peter and Paul Fortress
1794. State Tretyakov Gallery, Moscow
From the corner of the Peter and Paul Fortress, against the background of the huge cold northern sky and the wide mirror surface of the deep Neva, a majestic panorama of the Palace Embankment of St. Petersburg opens. On the right you can see the Marble Palace, then the Baryatinsky House and the Ribas Palace; The panorama is closed by the lattice of the Summer Garden. Clear poetry, harmony and noble restraint of feeling permeate the entire artistic fabric of this landscape. “Look, what unity! – wrote the poet K. Batyushkov about the embankments of St. Petersburg. – How all the parts correspond to the whole! What beauty of the buildings, what taste, and, in general, what diversity that comes from mixing water with buildings.”
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Fyodor Yakovlevich Alekseev was the first in Russian painting to become a master of the urban landscape.
At the age of 16, while studying at the Academy of Arts, in 1773 he received a gold medal for a program landscape and was sent to Venice to study painting theatrical scenery. This did not correspond to his inclinations, and in Venice he became interested in the views and fantastic engravings of the Roman artist Piranesi, the works of the famous Italian landscape painters Canale, Guardi, which caused dissatisfaction with the authorities of the Academy and entailed forced work as a decorator at a theater school upon returning to his homeland, he was refused in a program to obtain any academic title.
He received the long-awaited opportunity to paint original landscapes only in 1786. By this time, he had gained fame as the “Russian Canaletto”, copying landscapes by Canale, Robert, Berne from the Hermitage collection.
Working independently, he managed to create the image of majestic St. Petersburg. For the paintings “View of the Peter and Paul Fortress and the Palace Embankment,” painted in 1793, and “View of the Palace Embankment from the Peter and Paul Fortress,” in 1794 the artist received the title of academician of perspective painting and was sent to Novorossiya and Crimea to create landscapes of southern cities. This is how views of the cities of Nikolaev, Kherson, and Bakhchisarai appear in Alekseev’s work.
In 1800, he received an assignment from Emperor Paul I to paint views of Moscow. Moscow works with views of streets, monasteries, suburbs, and various images of the Kremlin attracted many customers from among noble nobles and members of the imperial family, notable for their documentary quality.
In 1800, Alekseev headed the class of perspective painting at the Academy of Arts, and since 1802 he returned to his favorite theme of St. Petersburg, now the entire foreground of his canvases is occupied by people against the backdrop of beautiful palaces and the unique Neva.
With his many years of hard work, Alekseev proved his right to be a landscape painter. He died, however, gradually forgotten by the public, in great poverty. The Academy was forced to allocate funds for his funeral and benefits for the artist's widow and his small children.
The texture of the canvas, high-quality paints and large-format printing allow our reproductions of Fedor Alekseev to be as good as the original. The canvas will be stretched on a special stretcher, after which the painting can be framed in the baguette of your choice.
Alekseev F.Ya.
Alekseev Fedor Yakovlevich (1753 (4?), St. Petersburg - 1824, St. Petersburg)
Painter. One of the founders of the Russian urban landscape. Born in St. Petersburg in the family of a watchman at the Academy of Sciences. He studied at the garrison school. At his father's request he entered the Imperial Academy of Arts (1766). While studying at the Academy in 1767, he was among the students in the class of ornamental sculpture, led by Louis Rolland, and then studied painting with G. Fandermint and A. Perezinotti in the class of fruits and flowers, then in the landscape class. Pensioner of the Academy of Fine Arts in Venice (1773–1777), where he studied with the perspectivalists D. Moretti, later P. Gaspari. There he improved as a theater artist and landscape painter. In the 1790s. He produced landscapes of St. Petersburg, for which he received the title of academician (1794). At the same time, Catherine II ordered Alekseev copies of paintings by A. Canaletto and B. Belotto. In 1795 he was sent to the south of Russia and the Crimea to sketch the places that Catherine II visited in 1787. Among the works of this period is “View of the City of Nikolaev”, (1797–1800, Russian Museum). From 1799 he was a painter at the Directorate of the Imperial Theatres. In 1800, at the direction of the Senate, he was sent to Moscow to paint city views. Advisor to the Imperial Academy of Arts (since 1802). He taught in the class of perspective painting at the Academy of Arts (from 1803 until the end of his life). In the 1800s–1810s. created new series Petersburg landscapes, including “View of the Palace Embankment from the Peter and Paul Fortress” (1794, Russian Museum).