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He received his artistic education at the best educational institution in Russia - the St. Petersburg Academy of Arts, where he became friends with I. E. Repin and I. N. Kramskoy. During his studies, he made drawings for magazines and cheap folk items.

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• In 1878 he moved to Moscow, now his life and work will be closely connected with the ancient capital of Russia. In Moscow, Viktor Mikhailovich became close to many wonderful artists, with the founder of the famous gallery P. M. Tretyakov. According to Viktor Mikhailovich’s sketch, the facade of the building was made by all beloved Tretyakov Gallery - Tretyakov Gallery.
• Portrait of P.M. Tretyakov
• Artist I.E. Repin

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• Vasnetsov becomes an active member of the Mamontov circle of artists and musicians, and often visits the country estate of S.I. Mamontov (a wealthy merchant and patron of artists) in the village of Abramtsevo.
• V.M. Vasnetsov “Oak Grove in Abramtsevo” I.E. Repin
• "Portrait of S.I. Mamontov"

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In the 1870s. He produced small genre paintings, carefully painted primarily in a grayish-brown color scheme. In scenes of the street and home life of small merchants and officials, the urban poor and peasants, Vasnetsov with great observation captured the various types of contemporary society.

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V.M.Vasnetsov “Bookshop”

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V.M. Vasnetsov “From apartment to apartment”

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In the 1880s, having left genre painting, he created works on the themes of national history, Russian epics and folk tales, devoting almost all of his subsequent work to them. One of the first Russian artists to turn to Russian folklore, Vasnetsov sought to give an epic character to his works, to embody age-old folk ideals and high patriotic feelings in poetic form.

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V.M. Vasnetsov “Bogatyrs”

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V.M. Vasnetsov “The Knight at the Crossroads”

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V.M. Vasnetsov “Ivan Tsarevich on a gray wolf”

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V.M. Vasnetsov “Alyonushka”

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V.M. Vasnetsov “Flying Carpet”

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V.M. Vasnetsov “Snow Maiden”

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V.M. Vasnetsov “Three Princesses of the Underground Kingdom”

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V.M. Vasnetsov “After the massacre of Igor Svyatoslavich with the Polovtsians”

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V.M. Vasnetsov “Tsar Ivan Vasilyevich the Terrible”

"Duchess Olga"

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1880-1890s V.M. Vasnetsov works for the theater. The scenery and costumes for the play-fairy tale “The Snow Maiden” by A. N. Ostrovsky (staged in the home theater of S. I. Mamontov in 1882) and the opera of the same name by N. A. Rimsky-Korsakov (at the Moscow Private Russian Opera with I. Mamontov in 1886), executed according to Vasnetsov’s sketches, an example of creative interpretation of genuine archaeological and ethnographic material, had a great influence on the development of Russian theatrical and decorative art in the late 19th and early 20th centuries.

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V.M. Vasnetsov “Sketch of the scenery for the opera “The Snow Maiden”

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V.M. Vasnetsov “The Snow Maiden” (Costume design for the opera “The Snow Maiden”)

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In his work, Viktor Mikhailovich turned to religious themes. In 1885-96, Vasnetsov completed most of the paintings of the Vladimir Cathedral in Kyiv. In the paintings of the Vladimir Cathedral, Vasnetsov tried to introduce spiritual content and emotionality into the traditional system of church monumental painting, which in the 2nd half of the 19th century. came into complete decline.

Biographical information Years of life: Years of life: Born in the village of Lopyal, in the family of a priest Born in the village of Lopyal, in the family of a priest Studied at the theological seminary in Vyatka (1862–1867), then in St. Petersburg, at a drawing school Studied at the theological seminary in Vyatka ( 1862–1867), then in St. Petersburg, at the drawing school Was a member of the “Partnership of the Peredvizhniki” Was a member of the “Partnership of the Peredvizhniki” Young Vasnetsov fully followed the traditions of Peredvizhniki everyday life - such are his images of an impoverished old couple moving “from apartment to apartment” (in the eponymous painting 1876, Tretyakov Gallery), or late gamblers (Preference, 1879, ibid.). Young Vasnetsov fully followed the traditions of peredvizhniki everyday life - such are his images of an impoverished old couple moving “from apartment to apartment” (in the painting of the same name, 1876, Tretyakov Gallery), or late gamblers (Preference, 1879, ibid.).

Brief information about the Partnership of Peredvizhniki ("Association of Traveling Art Exhibitions"), the largest of the Russian artistic associations of the 19th century. PARTNERSHIP OF THE Wanderers (“Association of Traveling Art Exhibitions”), the largest of the Russian art associations of the 19th century. They created a new art, liberated from the canons of academic classics, designed to reveal the course of history to the world, thereby preparing the way of thinking for the future. They created a new art, liberated from the canons of academic classics, designed to reveal the course of history to the world, thereby preparing the way of thinking for the future. For the “Itinerants”, such an artistic and historical “mirror” presented, first of all, modernity: the central place in the exhibitions was occupied by genre and everyday motifs, “the whole of Russia” in its many-sided everyday life. For the “Itinerants”, such an artistic and historical “mirror” presented, first of all, modernity: the central place in the exhibitions was occupied by genre and everyday motifs, “the whole of Russia” in its many-sided everyday life.

Biographical information Meanwhile, the Vasnetsovs lived quite simply - like most families of rural priests. Meanwhile, the Vasnetsovs lived quite simply - like most families of rural priests. The “critical” school of painting of the second half of the 19th century loved to depict priests as self-interested drunkards. (party interests) The “critical” school of painting of the second half of the 19th century loved to portray priests as self-interested drunkards. (party interests) Vasnetsov, in his letters, spoke about his father: “Remember my dear father, deeply religious and philosophically minded, who, walking with us children through the fields on starry August nights, poured into our souls a living, indestructible idea of ​​what really exists God!" Vasnetsov, in his letters, spoke about his father: “Remember my dear father, deeply religious and philosophically minded, who, walking with us children through the fields on starry August nights, poured into our souls a living, indestructible idea of ​​the truly existing God!”

Biography and creativity The situation of the family did not allow the young man to study at an art school The situation of the family did not allow the young man to study at an art school I had to follow the tradition and study at the theological seminary (education there was free), but Victor did not complete his studies there for only a year I had to follow the tradition and study at the theological seminary (where education was free), but Victor did not finish his studies there for only a year. In his final year, he sold two of his paintings, “The Milkmaid” and “The Reaper,” and went to Moscow with 10 rubles in his pocket. In his final year, he sold two of his paintings “ Thrush" and "Reaper" and went to Moscow with 10 rubles in his pocket. Having successfully passed the exams, he entered the Academy. There he became friends with Repin. Having successfully passed the exams, he entered the Academy. There he became friends with Repin. The debut took place in 1874 with the canvas “Tea Party in a Tavern.” The debut took place in 1874 with the canvas “Tea Party in a Tavern.” Vasnetsov did not graduate from the Academy - he was attracted to other paintings. Having said goodbye to her in 1875, he went abroad in 1876 and lived in Paris for more than a year, where he closely communicated with Repin and Polenov, who were there on a pensioner business trip. Vasnetsov did not graduate from the Academy - he was attracted to other paintings. Having said goodbye to her in 1875, he went abroad in 1876 and lived in Paris for more than a year, where he closely communicated with Repin and Polenov, who were there on a pensioner business trip.

Biography and creativity Vasnetsov moved to live in Moscow, became close to S. Mamontov and P. Tretyakov, and became an active member of the Abramtsevo art circle. He lived for a long time in Abramtsevo, designed the Church of the Savior Not Made by Hands for the estate, designed the performances of the Mamontov Private Opera, and became interested in Russian folklore. Moscow became a promised land for the artist, here he realized that (quoting Vasnetsov) “only among Moscow’s historical monuments, its great, unforgettable, exciting past, will my talent flourish, my skill will strengthen, my inspiration will develop, my poetic dreams will come true.” Vasnetsov moved to live in Moscow, became close to S. Mamontov and P. Tretyakov, and became an active member of the Abramtsevo art circle. He lived for a long time in Abramtsevo, designed the Church of the Savior Not Made by Hands for the estate, designed the performances of the Mamontov Private Opera, and became interested in Russian folklore. Moscow became a promised land for the artist, here he realized that (quoting Vasnetsov) “only among Moscow’s historical monuments, its great, unforgettable, exciting past, will my talent flourish, my skill will strengthen, my inspiration will develop, my poetic dreams will come true.”

Biography and creativity The changes that had taken place were heralded by the canvas “After the Battle of Igor Svyatoslavich with the Polovtsy”, shown in 1880 at the VIII traveling exhibition, created based on “The Tale of Igor’s Campaign”. The picture was received ambiguously - Vasnetsov claimed that everyone “had their backs to it.” This is not so, of course, - I. Kramskoy, P. Chistyakov and I. Repin spoke admiringly of her, although the patriarch of the Wandering movement G. Myasoedov stamped his feet in front of her, demanding that this “carrion” be removed from the exhibition for betraying the critical “trend”. The changes that had taken place were announced by the painting “After the Battle of Igor Svyatoslavich with the Polovtsy”, shown in 1880 at the VIII traveling exhibition, created based on “The Tale of Igor’s Campaign”. The picture was received ambiguously - Vasnetsov claimed that everyone “had their backs to it.” This is not so, of course, - I. Kramskoy, P. Chistyakov and I. Repin spoke admiringly of her, although the patriarch of the Wandering movement G. Myasoedov stamped his feet in front of her, demanding that this “carrion” be removed from the exhibition for betraying the critical “trend”.

Biography and creativity Meanwhile, in this and subsequent works, Vasnetsov tried to show “positive” ways to Russian society, which was entering a period of groundlessness, disorder and unrest (less than a year later, revolutionaries tore Emperor Alexander II to pieces with a bomb). Meanwhile, in this and subsequent works, Vasnetsov tried to show “positive” ways to Russian society, which was entering a period of groundlessness, disorder and unrest (less than a year later, revolutionaries tore Emperor Alexander II to pieces with a bomb).

Biography and creativity The fulfillment of the same noble task determined the next stage of Vasnetsov’s life and work, associated with his activities in the design of the Vladimir Cathedral in Kyiv, to which he devoted more than ten years (). At first, art critic A. Prakhov attracted M. Vrubel to this work, but his icon painting turned out to be too “modernist” and not too organic for the traditional Orthodox consciousness. In the end, the cathedral was painted by V. Vasnetsov and M. Nesterov - Vasnetsov after that became the most popular Russian icon painter, he was imitated, and there was a rain of church orders for him. (On the right - Icon: The Mother of God with Child) The next stage of Vasnetsov’s life and work was determined by the fulfillment of the same noble task, connected with his work on the design of the Vladimir Cathedral in Kiev, to which he devoted more than ten years (). At first, art critic A. Prakhov attracted M. Vrubel to this work, but his icon painting turned out to be too “modernist” and not too organic for the traditional Orthodox consciousness. In the end, the cathedral was painted by V. Vasnetsov and M. Nesterov - Vasnetsov after that became the most popular Russian icon painter, he was imitated, and there was a rain of church orders for him. (Right – Icon: Mother of God and Child)

Biography and creativity The artist's fame grew - especially after the triumphant personal exhibition in 1899, where he showed the public his "Bogatyrs". In 1893, Vasnetsov received the title of full academician of painting, and a year earlier - professor of the Academy. He resigned his last title in the revolutionary year of 1905 - as a sign of protest against the greater passion of academy students for politics rather than painting. The artist's fame grew - especially after a triumphant personal exhibition in 1899, where he showed the public his "Bogatyrs". In 1893, Vasnetsov received the title of full academician of painting, and a year earlier - professor of the Academy. He resigned his last title in the revolutionary year of 1905 - as a sign of protest against the greater passion of academy students for politics rather than painting.

Vasnetsov, of course, did not accept the biography and creativity of the Revolution. He lived out his long life in a country that he could no longer call his beloved Russia - the very abbreviation “USSR” was hateful to him. The art magazines, which were unbelted before our eyes, trashed his work, calling the artist himself “dilapidated,” “retrograde and obscurantist.” But until the last days, Vasnetsov did not let go of the brush. He died in his Moscow home on July 23, 1926 - the artist’s last work, a portrait of his old comrade and in many ways a student who continued his work, M. Nesterov, remained unfinished. (on the right is the icon “descent from the cross”) Vasnetsov, of course, did not accept the Revolution. He lived out his long life in a country that he could no longer call his beloved Russia - the very abbreviation “USSR” was hateful to him. The art magazines, which were unbelted before our eyes, trashed his work, calling the artist himself “dilapidated,” “retrograde and obscurantist.” But until the last days, Vasnetsov did not let go of the brush. He died in his Moscow home on July 23, 1926 - the artist’s last work, a portrait of his old comrade and in many ways a student who continued his work, M. Nesterov, remained unfinished. (on the right is the icon “descent from the cross”)

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• May 3 (15), 1848
• July 23, 1926 (age 78)

Viktor Mikhailovich Vasnetsov (born May 3 (15), 1848 - died July 23, 1926) is one of the most famous Russian artists.

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Viktor Mikhailovich Vasnetsov was one of the first masters of Russian painting who took up the most diverse areas of art - theatrical decoration, architecture, applied art and illustration.

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Zarechnaya settlement Berendeyevka

Zarechnaya settlement Berendeyevka

Set design sketch for N.A. Rimsky-Korsakov's opera "The Snow Maiden" 1885, oil on canvas, State Tretyakov Gallery, Moscow.

When Repin saw V. Vasnetsov’s sets and costumes for the opera “The Snow Maiden,” he wrote to Stasov: “Vasnetsov made drawings for the costumes. He made such magnificent types - delight... I am sure that no one there will do anything like that. It's just a masterpiece."

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Costume sketches for the opera "The Snow Maiden" by N. A. Rimsky - Korsakov

Viktor Mikhailovich Vasnetsov loved the theater very much. For A. N. Ostrovsky’s spring fairy tale “The Snow Maiden,” staged in a private theater in the Moscow house of S. I. Mamontov, Vasnetsov not only composed sketches of the scenery and costumes, but also played the role of Father Frost.

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The drawing of the magical underwater scenery in “Rusalka”, created by Vasnetsov, even after many decades only changed slightly.

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The end of the 1890s was marked by Vasnetsov’s work on illustrations for Pushkin’s “Song of the Prophetic Oleg” for an academic publication dedicated to the centenary of the poet’s birth.

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Guslars

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Snow Maiden 1899

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“Three Princesses of the Dark Kingdom” 1881

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"Ivan Tsarevich on a gray wolf" Date: 1889

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The Frog Princess 1918

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Flying carpet 1880

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"Alyonushka" (1881)

"Alyonushka" (1881)

The bare-haired girl, sitting on a stone by the pond, thought about her bitter fate. The surrounding nature - the pale gray sky, the prickly paws of fir trees, leafless aspen trees and the dark surface of the pond with yellow leaves frozen on it - everything conveys her depressed state. On the thick surface of the pool, the reflection of the yearning heroine is not visible: it is as if she is being drawn there. The master not only painted an artistic lyrical image from the fairy tale about Alyonushka and her brother Ivanushka, he soulfully depicted on the canvas the suffering soul of the Russian people.

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Academician of painting, illustrator, decorator and architect Viktor Mikhailovich Vasnetsov died in his home in Moscow on July 23, 1926 and was buried at the Vvedensky cemetery. The works he created are a national treasure, reflecting the heroism and soul of the Russian people.

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Vasnetsov Viktor Mikhailovich

Vasnetsov Viktor Mikhailovich () Artist Viktor Mikhailovich Vasnetsov was born in 1848 on May 3 in the village of Lopyal, Vyatka province. The son of a priest. He received his education at the Vyatka Theological Seminary. He received his art education at the St. Petersburg Academy of Arts, where he stayed from 1868 to 1875. He was abroad twice my account: 1st time in 1876 I was in Paris, where I stayed for a year, 2nd time before starting work on the Kiev Vladimir Cathedral. Traveled to Italy, was in Venice, Ravenna, Florence, Rome and Naples. In the first years of his stay in St. Petersburg, he was exclusively engaged in pencil and pen drawings and illustrations in general.

He began painting with oil paints in St. Petersburg around 1872, although 2 small oil pictures were still painted in Vyatka before his trip to the Academy. The first paintings were mainly genre paintings: the very first painting, “Workers with Wheelbarrows,” was bought by Tretyakov, but where it is now is unknown. Then “Beggars Singing Lazarus” was painted, then many other genre paintings, located in the Tretyakov Gallery, in the Rumyantsev Museum (“Preference”), in the Museum of the former Alexander III, and in private collections. The Historical Museum of Moscow houses a large composition “Stone Age”.

Professor Prakhov invited him to work at the Vladimir Cathedral in Kyiv in 1885 and worked within the walls of the cathedral for 10 years. Paintings, both genre and epic and fairy-tale, were exhibited initially at Traveling Exhibitions and partly at exhibitions of the Union of Russian Artists. Mostly, religious and other works were exhibited at x personal exhibitions - 6 exhibitions in total. He also participated in foreign exhibitions: in London, Paris (1900), Rome, Malmo (Sweden). For his work in the Vladimir Cathedral he received the title of professor of painting. Vasnetsov Viktor Mikhailovich ()

Some architectural works were executed according to the drawings of V.M. Vasnetsov: the church in Abramtsevo, the facades of the Tretyakov Gallery, the Tsvetkov Museum and other works by Viktor Mikhailovich Vasnetsov () facade of the Tretyakov Gallery

Several paintings are united by one theme, dedicated to “The Tale of Igor’s Campaign” Vasnetsov Viktor Mikhailovich () After the massacre of Igor Svyatoslavich with the Polovtsians

Vasnetsov Viktor Mikhailovich () “Bayan” is one of the last significant works of the artist, completing the epic theme in his work. The first sketch of the painting was made in 1880, but work on it was postponed due to the fact that the artist was painting “Bogatyrs” at that time. Bayan is the name of the singer from “The Tale of Igor’s Campaign,” however, the artist does not connect his hero with the character of a specific work and creates a collective image of the epic singer. The film contains the theme of the unity of the singer and the squad, their spiritual connection. The solution to the landscape is epic. The panoramic view of the wide Russian expanses is perceived as a collective image of native nature and sounds symbolic. V.M. Vasnetsov. Accordion. 1910Bayan.

Presentation on the topic: Vasnetsov Viktor Mikhailovich. Biography and creativity

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Presentation on the topic: Vasnetsov Viktor Mikhailovich. Biography and creativity

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Biographical information Years of life: 1848-1926 Born in the village of Lopyal, in the family of a priest. Studied at the theological seminary in Vyatka (1862–1867), then in St. Petersburg, at a drawing school. Was a member of the “Association of Itinerants.” Young Vasnetsov fully followed the traditions of Itinerant everyday life writing - such are his images an impoverished old couple moving “from apartment to apartment” (in the painting of the same name, 1876, Tretyakov Gallery), or late gamblers (Preference, 1879, ibid.).

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Slide description:

Brief information about the Partnership of Peredvizhniki ("Association of Traveling Art Exhibitions"), the largest of the Russian artistic associations of the 19th century. They created a new art, liberated from the canons of academic classics, designed to reveal the course of history to the world, thereby preparing the way of thinking for the future. For the “Itinerants”, such an artistic and historical “mirror” presented, first of all, modernity: the central place in the exhibitions was occupied by genre and everyday motifs, “the whole of Russia” in its many-sided everyday life.

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Biographical information Meanwhile, the Vasnetsovs lived quite simply - like most families of rural priests. The “critical” school of painting of the second half of the 19th century loved to depict priests as self-interested drunkards. (party interests) Vasnetsov in his letters spoke about his father: “Remember my dear father, deeply religious and philosophically minded, who, walking with us children through the fields on starry August nights, poured into our souls a living, indestructible idea of ​​what really exists God!"

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Slide description:

Biography and creativity The situation of the family did not allow the young man to study at an art school. He had to follow tradition and study at a theological seminary (education there was free), but Victor did not finish his studies there for only a year. In his last year, he sold two of his paintings “The Milkmaid” and “The Reaper” and went to Moscow with 10 rubles in his pocket. After successfully passing the exams, he entered the Academy. There he became friends with Repin. He made his debut in 1874 with the painting “Tea Party in a Tavern.” Vasnetsov did not graduate from the Academy - he was attracted to other paintings. Having said goodbye to her in 1875, he went abroad in 1876 and lived in Paris for more than a year, where he closely communicated with Repin and Polenov, who were there on a pensioner business trip.

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Biography and creativity Vasnetsov moved to live in Moscow, became close to S. Mamontov and P. Tretyakov, and became an active member of the Abramtsevo art circle. He lived for a long time in Abramtsevo, designed the Church of the Savior Not Made by Hands for the estate, designed the performances of the Mamontov Private Opera, and became interested in Russian folklore. Moscow became a promised land for the artist, here he realized that (quoting Vasnetsov) “only among Moscow’s historical monuments, its great, unforgettable, exciting past, will my talent flourish, my skill will strengthen, my inspiration will develop, my poetic dreams will come true.”

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Biography and creativity The changes that had taken place were heralded by the canvas “After the Battle of Igor Svyatoslavich with the Polovtsy”, shown in 1880 at the VIII traveling exhibition, created based on “The Tale of Igor’s Campaign”. The picture was received ambiguously - Vasnetsov claimed that everyone “had their backs to it.” This is not so, of course, - I. Kramskoy, P. Chistyakov and I. Repin spoke admiringly of her, although the patriarch of the Wandering movement, G. Myasoedov, stamped his feet in front of her, demanding that this “carrion” be removed from the exhibition for betraying the critical “trend.” Description slide:

Biography and creativity The fulfillment of the same noble task determined the next stage of Vasnetsov’s life and work, associated with his work on the design of the Vladimir Cathedral in Kyiv, to which he devoted more than ten years (1885-96). At first, art critic A. Prakhov attracted M. Vrubel to this work, but his icon painting turned out to be too “modernist” and not too organic for the traditional Orthodox consciousness. In the end, the cathedral was painted by V. Vasnetsov and M. Nesterov - Vasnetsov after that became the most popular Russian icon painter, he was imitated, and there was a rain of church orders for him. (Right – Icon: Mother of God and Child)

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Slide description:

Biography and creativity The artist's fame grew - especially after the triumphant personal exhibition in 1899, where he showed the public his "Bogatyrs". In 1893, Vasnetsov received the title of full academician of painting, and a year earlier - professor of the Academy. He resigned his last title in the revolutionary year of 1905 - as a sign of protest against the greater passion of academy students for politics rather than painting.

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Slide description:

Vasnetsov, of course, did not accept the biography and creativity of the Revolution. He lived out his long life in a country that he could no longer call his beloved Russia - the very abbreviation “USSR” was hateful to him. The art magazines, which were unbelted before our eyes, trashed his work, calling the artist himself “dilapidated,” “retrograde and obscurantist.” But until the last days, Vasnetsov did not let go of the brush. He died in his Moscow home on July 23, 1926 - the artist’s last work, a portrait of his old comrade and in many ways a student who continued his work, M. Nesterov, remained unfinished. (on the right is the icon “descent from the cross”)