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HARVESTING IN SUMMER 1~~.·1.! SG.EPING $Hc.""P~lERO aOy ~~.-:J·IR2G

Palnter, draughtsman, Ilthographer, genre parnter. Bom Into a poor merchant's faml!y lil Moscow he worked as a draughtsri\an for land-surveYlng teams ulltll he was thlrty-elght years old. HIS tramlng as a palnter was marked by many Interruptlons: he recelved prlvate lessons from V l. Borovikovsky, among others, copled palntlngs In the Hermltage (an 1811 copy 01 Murlllo's Resl on fhe Fllgh! mto [gypt has survlved and IS now

Ir. In the Sta te Russlan Museum), and became an 'external student' of the Imperial Academy of Arts In St Petersburg. Al lhe end 01 1807 Venetslanov crealed four etchlngs for the Carrcature MagaZine tor Ihe Year 1808. whlch he hlmself inltJated and whlch was Russla's flrst Illustrated sal!rlcal magazine untll It was banned bv tlle authorllles. In 1811 Venetslanov was awarded the tltle of Academlclan for hls canvas Portralt of Klffll Ivanovlch Golovachevskv. Inspector 01 the Academy 01 Arls. W¡!IJ Three PUpl/S of the Academy In 1812, dunng the Napoleonlc Wars, he created a number of polllJcal cartoons in which he rldlculed the French and the Francomanla ot the Russlail anstocracy. He settled on the small estale 01 Satonkovo In the pravlnce of Tver In 1819 Venetslanov was of great slgnlflcance lo ihe development 01 Russlan art He was lhe founder of a 5chool of palntmg that eventually eilcompassed more lhan seventy artlsts, mcludlng Gngofl Soroka, AV. Tyrallov, N.S Krylov, E.F. Krendovsky, and l.K. Plakhov

Venetslanov occuple5 a place In art hlstory p(lmanly as the founrJer af Russlan genre palntlng Som~ art hlstorlans h1l~e descrlbed his early ,\'ork as a RUsslan vanant on HI~ Bjede.rmel"'r style. DUrlng th IS penod he ¡¡enar3ted In ti mate portr¡¡, lo fhal o:casmnally Incline to't8rds Ronuntlclsm, '11 ...... b "3e'" c.1.tu~"<J.l~ ~,l ti /"i,'l.-C'"~nrl".;:, ~ih.",,..,, , ... r 1.Qn7_

1809, Statü Russlan Museum) The artlst oblained hls Illst maJor sueeess and renown wlth lile palntlng The Threshlng Floor (1821·1823, Stale Russlan Museum). Olher pa1nllngs dlsplaYlng scenes Irom peasant Ilfe, for whlch he worked wllh Ilve models. Inelude Sleeplng Shepherd Boy (1823-26. Slat~ RlJssian Museum), In lhe Fleld Spong, ilnd Harvesll/lg. Summer (boih from lhe 1820s. Slafe Tretyakov Gallery) The substantlal role played by landseape In hls composltlOns IS 3n early example 01 the romanl,clzal,on 01 Hle Russl8n eounlryslde At '[he same time, '1enetslanov's peasant sc~nes herald the advent of reallsm In Russlan palnllng.

Affiliations: Soclely for (he Encouragemen t 01 Artlsls

Exhlbltions: 1824-1847 Imperia: Academy of Arts 182G·1827 Soclety for lhe Eneouragemenl

oi Arllsts

f\'lost CltJtslanding works: Porlrail of Aleksandr Blblkov (1807-1809). Portralt 01 Ale!<sandra Blblkova 0807-1809), T/le MournJng ot Chosl (c. 1810, all 11) lhe Stale Russran Museum), Self-porlrail (1811, State Trelyakov Gallery), The Threshlng Floor(182J.­1823, State RI";S!'l1l Museum), Cleanlng Beels Ce. J.320), Sleepmg ShepiJerd Boy (1823-26, both In the State Russlan MuseumL In tlJe Fleld Sprrng, and Harvestmg Summer (both c 1820, Stale Trelyakov Gallery), The MedliJflOn 01 Ihe Mothel 01 God lor the Sfudents ot Ihe Smolny /11~1!I{¡le

0832-J.835, State Russlan Museuml. Peter the Greal. The Foundlng oí SI P2tersburg (153B, Slale Tretyakov Galhry),

TERRACE ON THE SEASHORE vl(W OF A.MAlFI I..l~p,

CAPUCCINI "'tEAR SORRENTD Ign

Landscape painter. Born ,nfo an ortlsllC famlly Hls father, FF. Shchedrln, was a 5culplor, illS ullcle, S.F Shchedrln, was 81so a landscape painter. From 1800-1812 he studled under M M Ivanovand FYa Alekseev al lhe Imperial Academy of Ares In St Petersburg At his graduatlOn he was honoured wlth a flrst-class diploma and a Gold Medal From 1818 onwards he recelved a granl fram lhe Imperial Acaderny to study 111 Italy Shehedrln flrst settled In Rome. but when he was comrnlssloned by Grand Duke Mlkhall Paviovlch (the brother of the Tsar) lo palnl a series of Neapolltan lancJscapes. he moved fo Naples where he spent lhe re sI of hls Ilfe

In the hlstory of Russlail art Shchednn IS known as one of the founders of the reallstlc landscape. Even In hls early works, he showed hlmself to be a remarkdble landscape palnler. Hls vlews of SI PelersblJrg. whlch were dlsplayed In the Imperial Academy. do nof presenl the mall1 streets and quays along the Neva, as was common In the work of elghleenth-century maslers. bul the suburbs of ttle Clty, whlch had only recen!ly been adopted Into the vocabulary of nlneleenth-cenlury visual art. In Italy Shchedm1 !Iberated hlmseif Irom classlclslng

tendencies and devcloped íowards Rom?lltic sm whlch he added ear:y-realistIC landscape elelnrr.\

Exhibitions:

1815-1817 Imperial Academy of Arts, St Petersburg

Most outstanding works: The Collseum (J819, Stale Trelyakov Gallcry), 1" New Rome series of cllyscapes (1823-1825, S Tretyakov Gallery). The Small ¡'¡arbovr 0'/ Son On Ihe /sle 0'/ Capn, I/iew 01 Serrento l1,.ar 'l.7¡1I. (all 1826, all In the SIate Tretyakov G~I:"ry).

Moon/Ight Ifl Nap/es (1828 -1829, State RusSIJ~

Museum).

8ED~V, MIKUAH I VI~ ~OROK , RI68RI VA~ VWH , 11 rol 'H 1 O' f' ..;(1 '1 JU

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Palnter of landseapes, genre. portralts, and Icons.

Soroka was the son af a peasant serf. Hls master, the large landowner N.P. Milyukov, look lhe young

Soroka mIo hls home In '_841. When hls arllstlc

talent was recognlsed he became a pupll of Aleksei

Ven~b'Jnov, whose eslate of Safonkovo was nearby. Desplte VenctslClrIov's attenlpts lo free

Soroka from his serfdom, hls nlaster contlnued to refuse to al!ow It. Alter Venetslanov's death In

1847, Soroka found hlmself In a dlfflcult siluation.

Havrng left h,s master's estate, he returned to

Pokrovskoye at the beglnnlng oí the 1850s, where he palnted Icons for the locai churches. Because

Soro ka was Involved wlth the peasant uprlslngs that followed the abolitlon of serfdom (on behalf

of hls feilow v!llagers he wrote a lelter lo Tsar

Aleksandr !I, complalillng about the unfavourable

condltlons for land purehase) he was sentenced to

corporal punlshment. but hanged hlnlself befare th,s took place.

Tllough hls legacy IS not extenslve, Soroka IS

arguably lhe nlost tYPlcaliy Russlan of all the ni neteenth -cen tury landsCi.lpe p.,.~1 nters, an d lhe

most promlnent representatlve 01 the Venetslanov sellool. No more than twen1y undated canvases

have been authentleated, all fronl the 1840s.

Nevertheless. the palntrngs m whlch he recorded the surroundrngs 01' M Ilyukov's estate are extremely

successful. Soroka's work dlsplays a unlque

comblnatlOn of the ,deairslng c1asslClst tradltlon

and a realistlc deplctlon of Russlan nature.

Exhibitiens

none w Mest outstanding werks: V¡ew al Lake Maldino at OStrovkl, Estafe 01 N. P. MliyUkov, Vlew 01 a Oam (bolh State Russlan

Museum), View of a Park at Ostrovkl, Estate of N.P. MJiyukov In the Provmce 01 Tver (State Tretyakov MlIseunl) The Tf¡reshlng Floor (8431), Stl1dy

lIi TIJe House al Ostrovkr, Estate of N.P MJiyukov 0844. both Russlan State Museum), ReflectlOn /() a Mlrror, Portral! of E/lUYe!.. Mrlyukova (second haif

of the 1840s, State RU1>~lan Museuml. portralts of Venetsianov (State Tretyakov Museum, State

Russlan Museum), and Self-portralt 0840-1850, State Russlan Museum).

PATH IN ALBANO NEAR ROME \836

The son of a serf, Lebedev beca me a freeman In

1816 with fhe abollflOn of serfdom In the provlnee

of !::stonta In 1829, Lebedev was admllted to the Imperial Academy of Arts In St Petersburg, VI8

medlatlon by the dlreclor of the Derpl gymnaslum, Count P. r-. Palen, and fhanks to fhe protectlon of

A.K. Benkendorf, fhen head of lhe secrel pollee

There he sfudled In lhe class of M.N. Vorobev. In 1832, he recelved a SlIver Medal, 'flrst c1ass', for

hls P'il'nt'ng V!ew of Petravsky Island (St Petersborg) l5tate Russlan Museum) He graduated lhe 10l'oWing year and was awarded the Grand Gold

Medal and a granl lo study In Italy for hls palntlng V;ew of Ladoga. In 183~, he moved to Rome where

he beeame part of lhe clrcle around lhe palnter Kdd Bryu Ilov.

ThlO Irfluence of the Venetslanov sehool IS

clearly recognlsable In Lebedev's early work ;~e gr<3dually developed a personal varlant of

RUssliln RonlantlCISI1l that was characterlsed by a cheerful senslllvlty. The most prol1llnenl landscape pwntlngs he created In Russla are VasJ!kava. Estate of [he /rIS[lr3''::/(Jr af t/le Academy 01 Arts, A r. Krutav 0833, State Tretyakov Gallery) and At {he Forest f.dge. [state of ¡he Karmal10v Famlly (1833, State Tr~I)'a\(ov Gallery). The maJonty of hls oeuvre was

created dUllng hls Itallan periodo TYPlea! features of these landscapes are the careful attentlon

devoted to light and shadow, and the use of

Ilvely colours and dramatle contrasts between lhe far<'ground and lhe background. Wlth thls

style, he gathered a reputaban as one of Russla's

best landscape palnters from the fllst hall' of the nlneleenth cenlury

Exhibltiens:

1829-1833 Inwerlai AcadenlY of Arts, SI Peters bu rg

Most outstanding works: Vasllkovo Estate of file Inspector al the Academy 01' Arts, A I Krutov (833), Althe Edge of Ihe Forest Estate of (he Karmal10v Famliy(l833), Patl) /IJ Albal10 l1ear Rome (1836, all three In the State

Tretyakov Gallery), Vlew 01 Gastello Gal1dolla near Rome (836), Anccla l1ear Rome (1835, both

State Russlan Museum). View 011 the Outsklrls of Albano near Rame (1836), In Gurgl Park (1837, both State Tretyakov Gallery).

~AV KA ~ OV, A1 ~K~EI KONnRATEV[~H L01

SUNSET aYER A MARSH 1871 THE PECHERSK MONASTERY A CART-TRACK U.s}3 NEAA NllHNI NOVGOROD lB71

Palnter, draughtsman, landscaplst. Studled at the Moscow Schaol al Arts (1844-1854), under K.1. Rabus and was made a fellow of the Imperial Academy of Arts In 1854. He taught landscape palnllng at the Moscow School of Arts from 1857 \0 1882, countlng among hls students L.L. Kamenev, tlle brothers KA and S.A. Korovln. Isaak LeVitan and S.I Svetoslavsky. In 1862 he vlslted the InternatlOnal Exhlbltlon In LOlldon, and In 1867 travelled to France lor the Parls Expos¡lIon Umverse Ile. Besldes Engla nd and Fra nee. he aIso v!slted Germany and SWltzerland, (he latter trlp resultlng In two canvases V¡ew 01 lIJe SWl5s Alps near Interlaken (1862, State Russlan lVIuseumJ and Lake In the SWl5s Mountaln5 (866)

Havmg started hls eareer as a painter In the romantlc tradltlon - Vlew of the Kremlm In Bad Weather (1851), View, near Oramenbaum (1854) - Savrasov later developed a more narratlve style, produclng plctures tranqull In moad and based an minute observatlOn 01 the "unnotleed detalls

01 natural Ilfe'·. Vrllage Scene (1867), E/k Island, Sokolmki (1869). In hls works of the 1870s ­A Cart-Track (873), Courtyard In Wmter{l870s)­Savrasov allows hlrl1self a more IYrlcal and personal expresslon of the uncompromlsl ng nature 01 the Russlan landscape In hls 1871 canvas TIJe Rooks Have Retumed (State Tretyakov Gallery), whleh was to becorne a seminal work In the hlstory of Russlan landscape palntlng, Savrasov ehooses a simple theme - tYPlcal of the Russlan countryslde In early sprlng - and creates an emotlonally heightened vlslon 01 nature reawakenlng. The artlst, rellect!ng a partlcularly Russlan outlook on the world, draws IYrlcal slgnlficance from a concrete motll, and enters the annals 01 Russlan art I1lstary as the lounder 01 the 'rnood landscape'.

Affiliations: From 1861 Moscow SOClety of Art Lovers From 1870 Wanderers' Soclety (Peredvlzhn¡kl)

(founder rnember)

THE ROOKS HMf. RETURNED (VARIANT) l87!:;

Exh ibitions· 1860 Moscow Soclety 01 Art Lovers 1871-1881 Wanderers' Soele!y

Pos!humous solo exhibitions: 1947 Moscow 1963 Len tngrad 1980 Moscow

Most outstanding works: V!ew 01 the Kremlrn In Bad Weather (1851), View, near Oranienbaum (1854, both State Tretyakov Gallery), Vrew of the SWl5S Alps near Interlaken (1862, State Russlan Museum), Lake m the Sw;ss Mountams (1866), Village Scene (1867), Efk Island, Sokolmki (1869), A Cart- Track (1873), Courtyard m Wlnter (1870s), The Rooks Have Retumed {l871, all State Tretyakov Galleryl.

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KtODT, MIRIAIt KON~TA INOVI~H PUP OV, JIf "

THE :'!II"iH ROttO IN AUTUMN 1863 IN T'HE FIElD H .'~'

Palrlter and landscaplst. Studied at the Imperial Academy 01 Arts (1851-18:'8) under M.N. Vorobev and S M Vorobev. In 1858 he was awarded the Grand Gold Medal for hls senes entltied Víew of Liflandla near Zagevolt, and recelved a diploma as a reglstered artlst, as well as a bursary tor lorelgn trave!. He was a pensioner 01 the Imperial Academy 01 Arts from ¡ 858 to 1861. and Ilved and worked In Germany, SWltzerland and France. He became a member 01 the Imperial Academy 01 Arts In 1862. In 1871-1872, logether wlth A.P. Bogolyubov, he preslded over the establishment oí a I'andscape palntlng class at the Impenal Academy of Arts, whlch he headed lrom 1873.

"filialio'ls. 1857-1862 'Academlclans' Fndays' Soclely 1870-1880 Wanderers' Socrety.

(founder member) Ir0l11 1875 Soclety of Art Exhlbits

EJcl11bitlons: 1854-1873 (varlously) Impellal Academy 01 Arls 1862 Soclety for the Encouragement

of ¡he Arts

FOREST VIEI'{ AT NOON 18/8

1863-1883 Moscow Soclety of Art Lovers 1867 SOClety tor the Encouragement

01 the Arts 1867 Expos/!/On Untverselle, Pa 115 1871 Wanderers' Soclety 1872 Internatlonal Exhlbltlon, London 1873 Internatlonal ExhlbltiOil. Vlenna from 1875 SOClety of Art Exhlbrts 1876 Internatlonal Exhl Mlon. Ph Iladelphla 1878 EXposltlOn (Jl1Iverselle, Parls 1879 Wanderers' Soclety 1882 AII-RusSI3 Exhlbltton, Moscow 1897 Wanderers' Soclety

Masl oulstanding warks: Oak Grove, T!Je HiglJ Road ¡n Autumn (bo111 1863, State Tretyakov Gallery); F/ock by the River at Noon 0869, State Russlan MlJseum); In the Fleld (1870, State Russlan Museum; 1872. State Tretyakov Gallery); Fores! V¡ew at Noon (878), Cattle a! the Trough 0879, both In the Sta¡e Tretyakov Gallery)

MORNING IN lH[ COUNTRYSlOf 1861

Artlst. The Identlty 01 the paJl1ter 01 Mormng In

the Countrys/de, whlch was slgned 'A. Popov, 1861', remalns a rnystery Dunng thls penod the genre was practJsed by two other Popovs: the landscape palnter Aleksandr Pavlovlch Popov (-Moskovsky) and the pamter af popular scenes Andrel Andreevich Popov. Because the rnethod of pamtlflg appears to dlfler Irom that 01 these two. It has been assumed that there must be yet another painter wlth the same !n,tlals workmg durmg thls penod.

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~HI~HKIN, IVAN IVANOVI~H !891!. ') T PE TER >BURG

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:-... -- -VIEW ON THE OUTSKIRTS OF ST. PETERSBURG 1

MIDOAY ON THE OUTSKIRTS OF MOSCOW IN THE OEPTHS OF THE FOREST 131

Pamter. draughlsman. engraver; landscap1sl. Stud1ed al lhe Moscow School of Arls (1852 1856) under A.N. Moknlsky and al the lmpenal Academy of Arls. (1856 1860), under S.M. Vorobev; pens1oner of the lmpenal Academy (1862 1865). Followmg h1s educat1on. he llved and worked 1n Germany and Sw1lzerland. and lravelled m Bohem1a. He was made a fellow of the lmpenal Academy of Arls m 1865. m recogn1t1on of h1s p1clure V1ew near Düsseldorf (S tate Russ1an Museum).

Sh1shkm was a master of lhe monumental canvas. combinmg a panoram1c v1s1on with met1culous attenl10n to detall such as M1dday. on the Outsk1rts of Moscow (1869) and Woodland V1stas (1884, bolh State Trelyakov Gallery). Sh1shkin's extens1ve oeuvre also mcludes works closer m style to the mood landscape such as Ram m an Oak Forest (1891). and plem a1rworks like: Comerofan Over­grown Garden (1884).

Sh1shkm's elchmgs const1tute a sigmf1cant aspect of h1s legacy. Wh1le close lo his pamtmgs m conlent and style. they are more emot1onally charged and freer 1n lhe1r execul1on. allowmg lhe arl1sl lo expenmenl and demonstrate h1s skllls as a draughlsman. Sh1shkm became the foremost engraver of lhe second hall of the nmeteenth cenlury and was mstrumental m rev1vmg lhe trad1!1on of etchmg m Russ1a.

Affiliations from 1866 Moscow Soc1ety of Art Lovers from 1870 Wanderers' Soc1ety, (founder member) from 1871 Soc1ety of Russ1an Engravers

Exhibitions: 1857 1894 lmpenal Academy of Arts.

St Petersburg 1859.1860 Moscow School of Arts 1865 Dusseldorf 1866 Expos1t1on Umverselle, Par1s

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,·_ .. ,.,.. .. •. RYE 1< FOREST RESERVE, PI NE GROVE 11 AMIOST THE SPREADtNG VALE 1883

1866 Moscow Soc1ety of Art Lovers 1867 Soc1ety for the Encouragement

of the Arts 1873 lnternallonal Exhlbltlon. V1enna 1878 Expos1t10n Umverselle, Pans

The Ap1ary (1882), Woodland Vistas (1884). Countess Mordvmova's Forest. Peterhoff(l891, all m lhe Slate Tretyakov Gallery), In the WJ/d North (1891. K1ev Museum of Russian Art), Mast-Tree Grave (1898. Russ1an Museum).

1896 AII -Russ1a Exhib1tion. N1zhm Novgorod

Solo exhibitions· 1891 SI Petersburg

Posthumous Exhibition 1904 Exh1blt1on of studies. Moscow 1926 Sh1shkm's Drawmgs, Moscow 1948 lo mark the occas10n of lhe 50'

anmversary of h1s dealh. Moscow and Lenmgrad

Most outstanding works : M1dday. On the Outsk~rts ot Moscow ( 1869). P1ne Forest (1872), Rye (1878), The Th1cket (1881),

WOOI)lAND VISTAS V<4 VOUNG OAKS 88h OAKS E"wENING H<87 MIXED FOREST 188>! WIND FALLEN TREES 1888 WINTER 1890

lá1

IN THE WILD NORTH 1891 THE KAMA NEAR VELABUGA .8 MAST-TREE GROVE 1

P~ROV, VA~HI GRIGOR~VUH

THE l.AST INN BY THE TOWN GATE 1868

Pamter and draughtsman - master of genre pa1ntmg; portra1t1st and historical painter. Stud1ed at the Arzamas School of Pamtmg and lconography under A.V. Stupin (1846-1849) and the Moscow School of Arts (1853-1861) under N.A. Ramazanov, A.N. Mokritsky, M. l. Skottl and S. K. Zaryanko; pens1oner of the lmpenal Academy of Arts (1862-1869). He travelled to Germany m 1862, and llved and worked 1n Pans from 1863 to 1864. In 1866 he was made a fellow of the lmpenal Academy.

Perov's leadmg role m the development of genre pamtmg in the 1860s secures him a place in the annals of Russian art h1story. Two examples of sign1f1cant gen re pamtings are The Village Easter Process1on (1861) and The Last lnn by the Town Gate (1868). He achieved widespread acclaim for h1s h1storical and religious paintings: Christ m the Garden of Gethsemane (1878) and N1kita Pustosvyat, (1882, both in the State Tretyakov Gallery). Landscape plays an importan! role m Perov's work as a means of creatmg a umty of mood and palette. Portra1ture is also a 1mportant facet in the art1st's oeuvre - sorne of the fmest examples being those of the dramatist A.N. Ostrovsky (1871), the wnters F. M. Dostoevsky and V. l. Dahl (both 1872), and the painter A.K. Savrasov (1878, all in the State Tretyakov Gallery).

D1stmgU1shed by thei r exact portrayal of social characteristics, the1r umty of compos1t1on, pose and gesture, these pictures reveal a profound psycholog1cal ms1ght of the s1tter.

Affiliations: 1870-1882 Wanderers' Soc1ety (founder member)

Exhibitions: 1856-1871 lmpenal Academy of Arts,

St Petersburg 1862 Soc1ety for the Encouragement

of the Arts 1867 Expos1tion Umverselle, París 1870-1882 Wanderers' Society 1872 lnternational Exhibibon, London 1873 lnternat1onal Exh1bibon V1enna 1878 Expos1t1on Universelle, París 1881 Moscow Society of Art Lovers

Most outstanding works: The Vil/age Easter Process1on (1861); Tea Onnkmg m Myt1shch1 (1862); The Last Journey (1865); Troika (1866); The Last lnn by the Town Gate (1868); Hunters at Rest (1871), Chnst m the Garden of Gethsemane (1878) and Nik1ta Pustosvyat, (1882, all m the State Tretyakov Gallery)

~UKHOOOt~KY, P~TR At~K~ANOROVI~H

MI ODA Y IN THE COUNTRYSIDE 1864

Painter mamly of landscapes, but also of genre, seascapes, and battle scenes. Stud1ed at the Univers1ty of St Petersburg, and subsequently at the Department of Landscape Pamting of the lmpenal Academy of Arts where he was taught by S.M.Vorobev, L.F. Lagono, and G.G. Chernetsov. Sukhodolsky rece1ved the M mor and the Grand S1lver Medals respect1vely for his landscapes Storm m the Provmce of Kaluga (1859) and Wmter Mormng (1860). For h1s pamtmg View from Petrovsky Jsland, he was awarded the M mor Gold Medal. In 1864, Sukhodolsky completed h1s educa!lon w1th the Grand Gold Medal for the landscape pamtmg M1dday m the Countrys1de (1864, State Russian Museum). He made use of the s1x-year grant awarded by the Imperial Academy for only three years, spending this penod m Russ1a, mstead of ltaly as was mtended. In 1868 he entered the c1vil service and so forfeited h1s nght toa pension from the Imperial Academy. He resumed pamtmg m 1877, and in 1878 rece1ved the t1tle of Academ1cian for his work The Oka R1ver Flooding m Sprmg (State Russian Museum). In the 1880s, he produced i llustrallons for Russia's most popular magazine Niva.

No more than f1fty pamtmgs by Sukhodolsky are known. The pa1ntmgs In a Young Oak Forest, near Moscow(l862) and The Marsh (1863) were bought by Pavel Tretyakov (both State Tretyakov Museum).

Exhibitions: 1859-1865 lmpenal Academy of Arts,

1867 1873

1873 1879

St Petersburg Expos1t1on Umverselle, Pans lmpenal Academy of Arts, St Petersburg lnternational Exh1b11ion, V1enna lmpenal Academy of Arts, St Petersburg

1881-1882 lmpenal Academy of Arts,

1882 St Petersburg Nallonal Exh1b111on of Art and Apphed Art, Moscow

1886-1887 lmpenal Academy of Arts, St Petersburg

1887 Wanderers' Soc1ety, Ekatennburg

Most outstanding works: M1dday in the Countryside (1864) , The Oka R1ver Flooding m Spring ( 1878, both S tate Russian Museum), Workers Rest1ng (l880, State Tretyakov Museum), Scene from Peasant Ufe (1882), The Capture of Orkhama by the Russian Troops on 18 November 1877 (188 2, both State Russian

Museum).

KUINDlHI, ARKHIP IVANOVI~H JRG

THE FORGOnEN VILLAGE PATCHES OF MOONLIGHT IN THE FOREST EVENING IN THE UKRAINE

NIGHT ON THE ONIEPR MOONLIT NIGHT ON THE ONIEPR ,880 MORNING ON THE DNIEPR 1

Pamter and landscap1st. Served as an apprentlce 1n I.K. A1vazovsky's stud1o 1n Fedos1a under the latter's pup1l and ass1stant. A l. Fessler 1n 1855 lt 1s poss1ble that he returned to work 1n

A1vazovsky's stud1o 1n 1865 1866. He ís thought to have attended classes unofficially at the lmpenal Academy of Arts 1n St Petersburg 1n

1868, and 1n 1870 was recogn1sed as a non reg1stered art1st. becoming a reg1stered art1st 1" class m 1878. Dunng the years. 1874. 1875 and 1878, he made several tnps abroad. to France. Germany, England, Swítzerland and Austria. He was appomted a Professor at the Imperial Academy of Arts 1n 1892 and made a full member 1n 1893. He headed the landscape stud1o at the Academy's Higher College of Arts from 1894-1897 Prompted by his students, he founded the Kuindzhi Soc1ety

In 1909.

Kuíndzhi's landscapes are d1st1ngU1shed by the1r panoram1c visíon and h1s use of colour emphas1ses the express1ve nature of the countrys1de.

Affiliations : 1875-1880 Wanderers' Society

Exhibitions: 1867

1872 1873

1873 1874-1879 1878 1882

Imperial Academy of Arts. St Petersburg lnternat1onal Exh1b1tl0n, London lmpenal Academy of Arts, St Petersburg lnternat1onal Exh1blt1on. V1enna Wanderers' Soc1ety Expos1t1on Umverselle, Pans AII-Russ1a Exhibition, Moscow

AnER THE RAIN

LANDSCAPE THE S TEPPE 1890 MIDOAY HERD IN THE STEPPE

Solo exhibitions 1880 Arkh1p Kwndzh1, St Petersburg

and Pans 1882 Moscow, St Petersburg

Posthumous exhibítions. 1913 St Petersburg 1914 Moscow 1992 Moscow

Most outstanding works On Valaam lsland (1873). Muddy Road m Marwpol (1875). Ukra1man N1ght (1876 all three m the State Tretyakov Gallery); Evenmg m the Ukrame (1879, State Russ1an Museum); The B1rch Grove (1879, State Tretyakov Gal lery); Moonflt N1ght on the Dmepr (1880, S tate Russ1an Museum)

THE BIRCH-GROVE 18

~~~

8'f· OAKS XI 1'l05

~~~

POt~NOV, VA~HI DMITRHVUH BOl 1" 2 MAY 1 ST 'ETER BURG OltO. 13 IUL 9. !7, BORO K ESTATE :NOW POLENOVO), TULA R~GION

f. ,< - ' - , ----l'-.if,} '' . <1' "~--~# it'·.· ··.;r~ ... . _.. . i'· .~

--'/ ~ ... _..-__ .. ~ -. ·~:

THE BURNT FOREST 1881 LANOSCAPE. ZHUKOVKA 1888 EARLY SNOW 1891

.:

Painter, landscapist, genre and historical painter; stage designer, architect and illustrator, he also worked in the fields of decorative and applied arts. Polenov too k drawing lessons from P. P. Chistyakov from the age of twelve and attended classes by F. l. lordan at the Imperial Academy. He stud ied jointly at the University of St Petersburg and the Imperial Academy of Arts from 1863 to 1871. He became a pensioner of the Imperial Academy (1872-1876) and travelled widely in Europe and lived in France. In 1876, during the Balkan - Turkish war he served as a volunteer at the front, and was active on the Bulgarian front in the Russo-Turkish war from October 1877 to February 1878. He travelled abroad in connection with specif1c artistic projects, first in 1881-1882, working on the painting Christ and the Woman Taken in Adultery (1888, S tate Russian Museum), then in 1899 to the Middle East and Greece, for the series entitled Scenes trom the Lite of Christ (1890s-1900s). He was made an Academician in 1876 and became a full member of the Imperial Academy of Arts in St Petersburg in 1893. From 1882 until 1895, he taught the landscape class at the Moscow School of Arts, counting among his students K.A. Korovin, lsaak Levitan, A.Y. Golovin, S.V. lvanov, A. E. Arkhipov and S.V. Vinogradov. In 1926 he was declared a People's Artist of the Russ1an Soviet Republic.

' *

Polenov became one of the fmest exponents of the mood landscape, and his work may be seen as continuing the lyrical tradition of A. K. Savrasov. lt is largely dueto three of his works, completed towards the end of the 1870s- Moscow Courtyard, Grandmother's Garden (both 1878) and Overgrown Pond (1879; all in the State Tretyakov Gal lery) - that plein air painting beca mean established tradition in Russian art.

The artist l ived in Moscow and, from 1890 onwards, on his estate in Borok on Oka, where he undertook a number of architectural projects whose styles tend towards the Russian Art Nouveau: the country house (built in 1892, now the Polenov Museum); the Abbatstvo Stud1o (1904); and the Church of the Holy Trinity in the village of Bekhovo (1906).

Affiliations: from 1878 Wanderers' Society from 1894 Moscow Society of Artists from 1878 Abramtsevo Circle

Exhibitions: 1875 1876

1878-1918

Le Sa/on, París Imperial Academy of Arts, St Petersburg Wanderers' Society

MOSCOW COURTYARD 1902

1882 1890 1894-1918 1896

1896

1899 1900

AII -Russia Exhibition, Moscow Le Salon, Paris Moscow Society of Artists Exhibition ot Artistic Experiments, St Petersburg AII -Russia Exhibition, Nizhni Novgorod Mir iskusstva, St Petersburg Exposition Universelle, Paris

Solo exhibitions: 1909-1910 Scenes trom the Lite ot Christ,

Moscow, St Petersburg, and Prague 1924 Moscow

Posthumous exhibitions: 1994 Moscow

Most outstanding works : Moscow Courtyard, Grandmother's Garden (both 1878) and Overgrown Pond (1879; all in the State Tretyakov Gallery), Autumn in Abramtsevo (1890, Polenov Museum); Early Snow (1891, S tate Tretyakov Gallery); Go/den Autumn (1893, Polenov Museum); Autumn Chi/1 on the Oka near Tarusa (1893, Kiev Museum of Russian Art).

VA~H~V, f~DOR At~K~ANDROVI~H

BEFORE THE STORM 1868 ClOUDS 1871

Landscape pamter, draughtsman, watercolounst, ltthographer. Studted drawtng at evening classes at the Soctety for the Encouragement of the Arts (1863-1867) under A. l. Korzukhm, A. l. Morozov, I.N. Kramskoy and A.G. Goravsky. From June to November 1867 he worked on Valaam lsland under the dtrectton of lvan Shtshkm. In 1870 he travelled to the Volga regton wtth the pamter llya Repm, a trip that was to play a signtftcant role in the arttst's development and resulted in a large number of drawings and paintmgs. Among these are Vtew of the Vo/ga. Barges (1870, State Russtan Museum), Vo/ga Lagoons and Banks of the Volga after a Thunderstorm (both 1871, State Tretyakov Gallery). In these works Vasilev trtes to create a universal tmpresston of nature and evoke a lyrtcal mood. In 1871 he was regtstered as an unofftctal student at the lmpertal Academy of Arts and recetved an honorary diploma tn 1873. 111 health however, prevented him from attending classes. In May

.)lEO. 24 SEPTf.>,IBER IR'/j, YALTA

THE THAW :871

1871 he moved to the Crimea for hts health, where he spent the last years of hts ltfe.

Vastlev's work is charactertsed by tts subtle poettctsm and st1rnng romanttcism, though sorne of hts works are eptc m character. The arttst's contrtbution to the development of Russian landscape pamtmg lay tn hts abtltty to combme elevated romanttctsm wtth a naturahstic executton.

Affiliations: from 1868 Soctety for the Encouragement

of the Arts

Exhibitions: 1867-1873 Soctety for the Encouragement

of the Arts 1872 lnternat10nal Exhtbttton, London 1872 Imperial Academy of Arts,

St Petersburg

MORNING 1872-1873

1872 Moscow Soctety of Art Lovers 1873 lmpertal Academy of Arts,

St Petersburg 1873 lnternattonal Exhtbttton, Vtenna

Posthumous exhibitions: 1874 St Petersburg 1975 Lenmgrad, Moscow and Kiev

Most outstanding works: After the Thunderstorm and The Return ot the Flock (both 1868); On Valaam /stand and After the Ratn (both 1869); Valga Lagoons (1870); The Thaw (1871); Wet Meadow (1872); and In the Crtmean Mountams (1873 - all m the S tate Tretyakov Collectton).-

1 ~]

~~~

1~VITAN, I~AAK 111~H

--. ~- ~) ·>Y;,;··

A PLOUGHEO FIELO AT EVENING 18R1 EVENING ON THE VOLGA 1887·18R!l AFTER THE RAIN. PLIOS VILLAGE 1R89

SPRING FLOOO 1897 LATE AUTUMN 1A<ll'

Pa1nter, draughtsman, watercolourist and stage des1gner; landscap1st, portra1t1st and sttll lite painter. Stud1ed at the Moscow School of Arts from 1873 to 1883 under Vas11i Perov, Alekse1 Savrasov and Vas111 Polenov. Levitan was made a fellow of the lmpenal Academy of Arts in St Petersburg 1n 1898. He headed the landscape class at the Moscow School of Arts from 1898 to 1900. Between 1890 and 1898 he made severa! tnps abroad, to Germany, France, ltaly and F~nland.

Lev1tan was the most sign1f1cant of the Russian lyncal landscap1sts of the late n1neteenth century, a master of the mood landscape, and 1s now regarded as one of the greatest masters of the Russian school. In the way Lev1tan used his brush and pa1nt often loose and sketchy - he showed an adm1ra!lon for the Barbizon School, part1cularly Corot, and an interest 1n lmpressionism, especially in Monet's paintings. His treatment of his subjects 1s diverse and ranges from hght and lyrical to brooding and elegiac. Although Lev1tan appeared

EARLY SPRING 11 18

to be concerned w1th random, unimportant themes, the effects of light and colour are equally the sub¡ect of h1s pa1nt1ngs.

Affiliations: from 1888 Moscow Soc1ety of Art Lovers from 1891 Wanderers' Soc1ety from 1897 Munich Secess1on

Exhibitions: 1877 Moscow School of Arts 1883 Moscow School of Arts 1884-1900 Wanderers' Soc1ety 1887 Moscow Soc1ety of Art Lovers 1893 lnternat1onal Exhib1t1on, Ch1cago 1896 AII-Russ1a Exh ibition,

Nizhn1 Novgorod 1896 lnternational Exh1b1t1on of the

Mumch Secession 1899 M ir iskusstva, St Petersburg 1900 Exposllion Universel/e, Pans

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~.- ·''' .....,,.. ...... -.. ""~-~ ._.__~_:• ..... '!_--~

QUIET HAVEN 1oGO THE VLAOIMIRKA ROAO

~-· ,

n

TWILIGHT HAYSTACKS 1 ¡ THE LAKE. RUS .899

Solo exhibitions: 1896 Odessa

Posthumous exhibitions : 1901 Moscow and St Petersburg 1903 Odessa, K1ev 1938 Moscow, Len1ngrad 1960-1961 Moscow, Len~ngrad and K1ev

Most outstanding works: Autumn Day. Sokolnik1 (1879); The Blfch Grove (1885-1889); On the Vo/ga (1888); Evenmg. Go/den Pilos (1889); Quiet Haven (1890); Deep Waters, The V/adimlfka Road, and Evening Bells (all 1892); Above Eterna/ Peace (1894); Go/den Autumn and March (both 1895); Spring Flood (1897); Twllight. Haystacks (1899, all State Tretyakov Gallery); The Lake. Rus (1899-1900, State Russ1an Museum).

-.~ ...

-·-· -"~~~

ABOYE ETERNAL PEACE (STUOY) 1894

N~~T~ROV, MIKHAI1 VA~HI~VI~H

ON THE HlllS 896 ST. SERGIUS OF RAOONEZH l!l' ; SILENCE l 1ID

Painter, graphtc arttsl, monumental arttst. Studted at the Moscow School of Arts (1876-1880, 1883-1886) under E.S. Soroktn, Vasilt Perov and l. M Pryanishnikov. and tn St Petersburg al the lmpenal Academy of Arts under P.P Chtstyakov (1881 1883); close associate of l. N. Kramskoy. He became a fellow of the lmpenal A,:ademy tn 1898 and sat on the board of governors from 1910 From 1889 until 1911 Nesterov made numerous tnps abroad, to ltaly, France, Germany, Greece, Poland and Austna.

Nesterov's work ts steeped m the Chnsttan spintual tradttton. The arlts! defmed hts art as 'poettctsed realism'. and indeed his painttngs create a poetic world of harmony and untty, of man's search for the meaning of hts extstence through God, in !he context of a natural world filled wtth stlence and tranquilltty. Nesterov's aesthettc is close to that of the late

Pre-Raphaelttes, and his painterly style leans toward Art Nouveau. Thts tendency ts espectally visible tn his monumental work the murals m St Vladtmtr's Cathedral m Ktev (1891 -1895); mosatc destgns tn the Church of the Resurrectton tn St Petersburg (1894 1895); the mural tn the Church of Aleksandr Nevsky m Abastumam, Georg1a (1902-1904); the tconostasts and murals m the Chapel of Martha and Mary tn Moscow (1909-1914).

Portra1ture 1s a Stgntficant facet of Nesterov's work. The portra1ts of hts wife Ekatenna Petrovna (1905, State Tretyakov Gallery) and of h1s eldest daughter Oiga Mtkhatlovna (1906, State Russ1an Museum) gave nse toa not1on of the female ideal 1n Russ1an art. In the last decade of his ltfe he created a modern vers1on of the tradt!tonal 'offictal portratt' in a senes of p1ctures of prom1nent Soviet arttsls and sctenttsls

DUAL HARMONY IYQ'o THE LITILE FOX ¡q ¡4

Affiliations from 1888 Abramtsevo Ctrcle from 1896 Wanderers' Society from 1903 Un1on of Russian Art1sts

(founder member)

Exhibitions: 1889-1901 1896

1898

1899-1901 1900 1903 1909

Wanderers' Soc1ety AII-Russ1a ExhtbtttOn, Ntzhm Novgorod Exhtbt!ton of Russ1an and Finn1sh Art1sts, St Petersburg Mrr tskusstva, St Petersburg Expostt1on Unwerselle, Par1s Union of Russ1an Arttsls lnternattonal Exhtbtlton, Mun1ch

Solo exhibitions 1907 St Petersburg, Moscow

Posthumous exhibitions: 1989 Moscow

Most outstanding works: The Hermtt (1888), The Vtston of the Boy Bartholomew (1890), The Boyhood of St Sergws (1892-1897), The Labours of St Sergtus of Radonezh (1896-1897, all State Tretyakov Gallery), Holy Russta (1900, State Russian Museum), The Little Fox (1914); Russta (Spmt of the People) (1914-1916), Portratt of the Arttsts A. D. and P.D. Korm (1930), Portra1t of the Physio/ogtst /P. Pav/ov(l930 and 1935), The Sculptor /. O. Shadr (1934), Portratt of Yudm the Surgeon (1935), and Portratt of the Sculptor V. l. Mukhtna (1940, all m the S tate Tretyakov Gallery).