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Perov Vasily Grigorievich 1834 - 1882
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Russian painter, one of the founding members of the Association of Travelers art exhibitions. Birth name: Vasily Grigorievich Vasiliev Date of birth: December 21, 1833 (January 2, 1834) Place of birth: Tobolsk, Russian Empire Date of death: May 29 (June 10), 1882 (aged 48)
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Born 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 provincial deacon. He graduated from the course at the Arzamas district school, was sent to art school A. V. Stupina (also in Arzamas). Self portrait 1851
Biography
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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 also awarded him other awards: - a large silver medal for the painting "Arrival of the Officer for the Investigation" (1858) - a small gold medal for the paintings "Scene on the Grave" and gold medal for the painting "Sermon in the village" (1861).
Studies. Awards
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gold medal
In 1861, for the painting "Sermon in the Village", Perov received a large gold medal and the right to travel abroad at public expense, in 1862 he went to Europe, visited a number of German cities, as well as Paris. This period includes paintings depicting European scenes of street life (“Seller of figurines”, “Savoyar”, “Paris organ-grinder”, “Beggars on the boulevard”, “Musicians and onlookers”, “Parisian rag-pickers”).
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Sermon in the Village 1861
Parisian rag-pickers
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Parisian organ grinder
Organ grinder
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Returning to Moscow, Perov from 1865 to 1871 created the paintings “Another at the fountain”, “Monastic meal”, “Seeing the dead”, “Troika”, “ Clean Monday"," Arrival of the governess in the merchant's house", "Art teacher", "Scene at railway”, “The last tavern at the outpost”, “Birdcatcher”, “Fisherman”, “Hunters at rest”.
great paintings
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In his portraits, Perov was able to identify new, for portraiture, socio-psychological perspectives; he sought to recreate on the canvas a man not only in his material concreteness, but also in his inexhaustibility. spiritual world: “Whatever the type, whatever the face, whatever the character, then the peculiarity of the expression of any feeling. A deep artist is known by studying, noticing all these features, and therefore his work is immortal, truthful and vital, ”Perov argued.
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V last years life V. G. Perov collaborated in the journal "Nature and Hunting" L. P. Sabaneev. A number of his stories were published in the Art Journal. In late 1881, typhus and pneumonia finally undermined his health. V. G. Perov died of consumption in a small hospital near Moscow on the territory of the Kuzminki estate (now the territory of Moscow). He was buried at the monastery cemetery in the Danilov Monastery. His son - Vladimir Perov - was also an artist.
Perov Vasily Grigorievich
Vasily Grigorievich Perov - painter, one of the founders of the genre painting.
Russian painter, one of the founding members of the Association of Traveling Art Exhibitions. - Russian painter, one of the founding members of the Association of Traveling Art Exhibitions.
"The constant striving for the truth of life, 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.)
Critical realism in Russian painting The emergence of a broad movement critical realism in Russian painting was prepared in the 1840s and 1850s by a part of the Russian society that absorbed the prose of N.V. Gogol, the poetry of N.A. Nekrasov, aesthetic views of N.G. Chernyshevsky. The fine arts needed an impetus so that the depiction of the life of disadvantaged compatriots was realized on canvases. Such an impetus was the work of Vasily Grigorievich Perov.
critical realism - artistic method and literary direction established in the 19th century. Its main feature is the image human nature in organic connection with social circumstances, along with a deep social analysis of the inner world of a person.
Childhood Born 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 provincial deacon. He graduated from the course at the Arzamas district school, was sent to the art school of A. V. Stupin (also in Arzamas).
Vasily Perov.
Self-portrait. 1851.
Vasily Perov.
Self-portrait. 1870.
Studies. Awards 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 "Arrival of the police officer for the investigation" (1858),
- a small gold medal for the paintings "Scene on the Grave" and "The son of a sexton, promoted to the first rank" (1860),
- a large gold medal for the painting "Sermon in the Village" (1861).
In 1861, for the painting "Sermon in the Village", Perov received a large gold medal and the right to travel abroad at public expense, in 1862 he went to Europe, visited a number of German cities, as well as Paris. This period includes paintings depicting European scenes of street life (“Seller of figurines”, “Savoyar”, “Paris organ-grinder”, “Beggars on the boulevard”, “Musicians and onlookers”, “Parisian rag-pickers”).
Sermon in the village. 1861.
Parisian rag-pickers
European scenes of street life This period includes paintings depicting European scenes of street life (The Seller of Statuettes, The Savoyard, The Organ Grinder, The Beggars on the Boulevard, The Musicians and Onlookers, The Rag-pickers).
Parisian rag-pickers. 1864.
Organ grinder
Great paintings Returning early to Moscow, Perov from 1865 to 1871 created the paintings "Another at the fountain", "Monastery meal", "Seeing the dead", "Troika", "Clean Monday", "Arrival of the governess in the merchant's house", " Drawing teacher”, “Scene at the railway”, “The last tavern at the outpost”, “Bird-catcher”, “Fisherman”, “Hunters at rest”.
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Presentation on the topic "Perov V. G." (grade 9) can be downloaded absolutely free of charge on our website. Subject of the project: MHK. Colorful slides and illustrations will help you keep your classmates or audience interested. To view the content, use the player, or if you want to download the report, click on the appropriate text under the player. The presentation contains 24 slide(s).
Presentation slides
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Center for ART - education All-Russian competition "Pride of the Fatherland": Anniversaries of Russia in 2013 (history and culture) Presentation for a lesson on history. Presentation topic: "Vasily Grigorievich Perov - an outstanding genre painter of the 19th century (on the occasion of the 180th anniversary of the artist's birth)". Vitvitskaya Lyubov Mikhailovna, history teacher Alexandra Arshinova, student of the 9th grade, MBOU secondary school No. 4, Kolchugino, Vladimir region.
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Perov - one of the best Russian painters of modern times, was born in Tobolsk on December 23, 1833. ( Real surname Kridener. The surname "Perov" arose as a nickname given to the future artist by his literacy teacher, a provincial deacon).
Perov Vasily Grigorievich (1833-1882)
"Self-portrait", 1851
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Perov received his first painting lessons at the Arzamas school of A.V. Stupin - the best provincial art school of that time. Being in it, in addition to copying the originals, for the first time he began to try his hand at composition and painting from nature and painted the painting "Crucifixion". Upon completion of the work, the sixteen-year-old artist presented it to the church of the neighboring village of Nikolsky as an altarpiece (located in the church of the village of Nikolsky, Arzamas district).
Monument to Stupin in Arzamas
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In 1853 he entered the Moscow School of Painting, Sculpture and Architecture. The famous sculptor Ramazanov, the inspector of the school, approved Perov's drawings and accepted him as a student. He lived with a poor relative, an old maid, an orphanage matron, who was ill with consumption. His father was old and did not send him money. Upon the death of a relative, he was literally left homeless, but one of the teachers of the school, E.Ya. Vasiliev, offered to move to him in a state-owned apartment, noticing good abilities in young man. In 1856, for the study of the head of a boy 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 "Arrival of the Policeman for Investigation", in 1860 - a small gold medal for the paintings "Scene on the Grave" and "The son of the sexton, who received the first rank", in 1861 - a large gold medal for "Sermon in the Village".
“First rank. The son of a deacon, promoted to collegiate registrars, 1860
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In the painting Sermon in the Village, created in the year of the abolition of serfdom, Perov depicted a scene in a village church. The priest points up with one hand, and with the other - at the landowner dozing in an armchair, plump, unpleasant; the young lady sitting next to him also does not listen to the sermon, she is carried away by what some well-groomed gentleman whispers in her ear. To the left are peasants in torn clothes. Scratching their heads, they listen with distress and distrust to the priest, who apparently inspires that all power is from God. - this is how the artist explained the idea of the canvas.
"Sermon in the village", 1861
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Simultaneously with the "Sermon" Perov painted two paintings - "Tea drinking in Mytishchi, near Moscow", where an obese monk is surprisingly typical, and "Rural religious procession at Easter". The last picture depicts everyone completely drunk. The rural priest has grasped the porch column and can hardly hold the cross in his other hand; the deacon has completely collapsed on the threshold, is floundering and cannot get up.
"Tea drinking in Mytishchi, near Moscow", 1862
"Rural religious procession at Easter", 1861
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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 in Germany and spent about two and a half years in Paris. Here he made sketches from nature and painted several paintings depicting local types and scenes of street life (Statuette Seller, 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 is not given to him as successfully as the image of his native, Russian life. The Academy allowed him to return to Russia a year before the deadline.
"Savoyar", 1863-1864 "organ grinder", 1863
"Parisian rag-pickers", 1864
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After arriving in Moscow, the artist creates more and more expressive and full of deep meaning human tragedies: "Seeing the Dead" (1865), "The Arrival of the Governess to the Merchant's House" (1866).
"Seeing the dead", 1865
"The arrival of a governess in a merchant's house", 1866
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Perov is drawn to the cold, gloomy scenes of urban life. Famous for his painting "Troika" (1866), depicting little apprentices. Exhausted, the children pull an icy barrel of water.
In the painting "The Drowned Woman" (1867), Perov portrayed a policeman on duty at the body of a dead woman.
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In 1867, the painting “The Drawing Teacher” appeared - a whole poem from real life in the power of the best Turgenev types.
With even greater skill, the painting “Birdcatcher”, which is one of the masterpieces of the Russian school, was painted. The painting begins new period Perov's activities and coincides with the beginning of the activities of the Association of Traveling Exhibitions.
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In Perov's paintings of the 60s, everything - composition, color, and always a harsh landscape - was aimed at expressing his main thoughts, and - as Stasov very well said - everything in them "bites strictly, importantly and painfully." But how often Perov was prevented from working; how often he indignantly dismissed absurd conversations, newspaper articles in which he was accused of not loving his fatherland, if he showed it in such a "disgusting" light that he had, "no matter what picture, then the tendency ", that "isn't it better for an artist to work in the name of pure art.
"Clean Monday", 1866
"Queue at the pool", 1865
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One of the highest achievements of the artist is "The Last Tavern at the Outpost" (1868). This is a picture of great emotional tension, unusually integral in its artistic solution. On the outskirts of the city, at the last tavern, two harnessed sledges stopped. The peasant woman left in the sleigh has long been waiting for her husband who has been on a spree. The last street of the city runs away into the distance, to the outpost, behind which the world of the village begins. The landscape is imbued with a sense of melancholy and loneliness.
Evening twilight, a general gray-brown tone, and only the snow-covered windows of the tavern are illuminated from the inside by an alarming light, and the cold yellow stripe of sunset burns out at the horizon behind the pillars of the outpost, revealing a boundless distance.
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Perov gave a lot of time and energy 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 have no right to refuse such an honorary title. Therefore, I hasten to express my gratitude to you, as well as my readiness to serve for society and for its good purposes ... ”- he wrote in response to his election. And, despite being busy, he was very conscientious about his duties, participated in all the affairs of society.
When in 1869 the artist Grigory Grigoryevich Myasoedov proposed to organize a partnership for organizing exhibitions by the artists themselves, Perov was the first to seize on this idea. But it was not so easy in those years to obtain permission to set up such a partnership. The tsarist officials, who constantly forbade the exhibition of paintings by objectionable artists, did not approve of the new society, and the Academy of Arts did not like this idea either.
"Portrait of the historian Mikhail Petrovich Pogodin", 1872
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Perov, Myasoedov, Kramskoy and other artists decided not to back down. Endless troubles began. A year later, permission was obtained, and then the charter of the partnership was approved. It was necessary to prepare for the first exhibition, which was supposed to be opened in St. Petersburg. The year in which talks 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 one younger son. It was difficult to come to terms with this, and only boundless love and devotion to art, the support of friends helped Perov overcome grief, find the strength to work.
Since 1871, the TPHV has arranged 48 traveling exhibitions in St. Petersburg and Moscow, then shown in Kiev, Kharkov, Kazan, Orel, Riga, Odessa and other cities.
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At a traveling exhibition in 1871, two excellent paintings by Perov were exhibited - "Fisherman" and "Hunters at Rest". These paintings are a direct continuation of the beautiful genre scenes.
"Fisherman", 1871
"Hunters at rest", 1871
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Significant are the achievements of Perov, a portrait painter. Depicting outstanding figures of Russian culture, the artist was able to reveal their complex inner world, high spirituality. The portrait of F.M. Dostoevsky (1872) is widely known, the portrait of A.N. Ostrovsky (1871), the portrait of V.I. Dahl (1872) received well-deserved recognition.
Portrait of Dostoevsky
Portrait of Ostrovsky
Portrait of Dahl
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Passion for the historical novels of Salias and Karnovich prompted Perov to write two large historical paintings - Pugachev's Court (1873, unfinished) and Nikita Pustosvyat. Controversy about faith. He reworked 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 close associates, whose robber faces are extremely characteristic. There is an oath ceremony, which is performed by a miserable, unfortunate priest shaking with fear. In the courtyard, in front of Pugachev, a crowd of people is crowded, in the forefront of which stands the landowner's family, whose members, some with despair, some with firmness and courage, await the decision of their fate. In the background, against the ominous background of the fire, the silhouettes of the gallows loom. The leader of the uprising is opposed by a proud, imperious landowner, looking with anger at "Emelka". 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 the massacre of 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 Kirghiz”, “Head of a Tatar”), made sketches for Pugachev. But from the entire triptych, he managed to paint only the third picture - "Pugachev's Court".
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During his life, Perov turned to literary creativity. It is impossible not to mention his stories, as piercing and deep as his paintings. Perov reflected the history 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 number 30. In the last years of his life, moving away from the Association, Perov practically abandoned all exhibition activities - "Nikita Pustosvyat" became known to the general public after the death of the artist. Some idea of Perov's mentality at that time is given by such paintings as "The Wanderer in the Field (On the Way to Eternal Bliss)" and "The Return of the Peasants from the Burial in Winter." Increasingly, the artist reflects on imminent death, more and more painfully perceives creative failures. He teaches at the Moscow School of Painting, Sculpture and Architecture; among his pupils - 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.
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The most significant painting by Perov historical theme, and surpassing the rest in size - "Nikita Pustosvyat". Before us is the Faceted Chamber. Nikita, enraged by the argument and a successful blow to the head of the Suzdal Metropolitan Athanasius, who fell backwards on the steps of the throne, steps on the patriarch with clenched fists. His (one figure is worthy of the whole picture; in all Russian painting you cannot find another like it, where the character of this schism fanatic was so amazingly correctly guessed. Around him is a crowd of schismatics who came with him to defend the common cause. It consists of all kinds of types, variously expressing their sympathy for Nikita's act, rushing to save him from the archers who had settled in. The picture is full of movement and drama.
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In 1881, Perov suffered from typhus and pneumonia, his health deteriorated. The artist's friends tried to help him. L.N. Tolstoy brought the famous doctor Zakharyin to him, P.M. Tretyakov, with whom Perov had been friends throughout his life, invited him to live at his dacha in Kurakino. In May, the seriously ill Perov was transferred to a hospital in Kuzminki near Moscow, where the artist's brother worked as an intern. 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 you have done and are doing for me ... Your Perov. All hope is in God. May 29 (old style), 1882, the artist died in the hospital.
Portrait of Tretyakov. Ilya Repin.
Portrait of V. G. Perov I. N. Kramskoy
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Perov was buried at the Danilovsky cemetery in Moscow. In the 1930s, his ashes were transferred to the cemetery of the Donskoy Monastery. Always modest, thinking little of himself, he did not highly value his works and, despite the modest demands that he made on life, left nothing behind him except debts. A whole century separates us from the moment when Perov's life ended. For these long years a lot of great masters appeared, a lot of once-big names were forgotten. But the art of Vasily Grigoryevich Perov, a great storyteller and "high moral personality", still remains alive and relevant. Perov was the first talented follower of Fedotov, and the next generation of genre painters, headed 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 into offspring and live there for a long time.” These words rightfully refer to the work of Perov himself.
Otpety, 1873 self-portrait
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Literature and Internet resources.
1. Masterpieces of Russian painting. Encyclopedia of world art. From "White City", 2006, pp. 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 II half of XIX century: a course of lectures. M., 1989.
PEROV VASILY GRIGORYEVICH The presentation was prepared by a student of the 8th "B" class Chuzhova Ulyana Teacher: Tarnovskaya Katerina Vyacheslavovna
WHAT AFFECTED PEROV'S CREATIVITY? The boy became interested in painting when he watched the work of an artist invited by his father. In 1843 - 1846, Vasily studied at the Arzamas district school, living with the teacher Favorsky. During this time, he continued to draw on his own. The mother wanted to send her son to the Nizhny Novgorod gymnasium, but the father received a new job - in the village of Piyashnoye (Leech) - and Vasily was sent to study at the Arzamas art school of A.V. Stupin, where he studied (with interruptions) in 1846-1849. He did not finish school, according to some sources, due to a conflict with one of the students.
In 1852, Vasily Perov arrived in Moscow and the following year entered the Moscow School of Painting, Sculpture and Architecture. However, there was nothing to live on and nowhere; out of need, the young artist even wanted to leave his studies, but in a difficult moment he was helped by his school teacher, E. Ya. Vasiliev - “strict ... even a little routine classic”, who settled Perov in his house and fatherly took care of him. In 1856, for the "Portrait of Nikolai Grigorievich Kridener, the artist's brother" presented at the Imperial Academy of Arts, Perov was awarded a small silver medal. Written in 1857, the painting "Arrival of a police officer for investigation" brought the artist a large silver medal. She attracted the attention of the public and critics; in Perov they saw “the direct heir and successor of Fedotov.” In 1860, the Academy awarded Perov a small gold medal for the painting “First rank. The son of a deacon, promoted to collegiate registrars ”, which approved the artist as the heir to the satirical genre of the 1840s.
Having received the right to participate in the competition for a large gold medal, Perov moved to St. Petersburg. Here, in 1861, he painted the paintings Sermon in the Village and The Village Procession at Easter; for the first he received a large gold medal and the right to travel abroad as a pensioner. In the autumn of 1862, Perov married Elena Edmondovna Sheins and in December, as a boarder at the Academy of Arts, he went abroad with her: having visited a number of German cities (Berlin, Dresden, Düsseldorf), he arrived in Paris. In 1868, the Academy of Arts extended Perov's retirement allowance for two years in addition to the three years he had previously received. The first prize at the MOLKh competition was awarded to Perov for the painting "Scene by the Railway". In 1869, together with Myasoedov, who came up with the idea of creating the Association of Traveling Art Exhibitions (TPKhV), Perov organized a Moscow group of Wanderers; for seven years he was a board member. In 1872, Perov married a second time - to Elizaveta Egorovna Druganova. In 1877, Perov left the members of the TPHV. In the last years of his life, V. G. Perov collaborated in the journal "Priroda and Okhota" by L. P. Sabaneev. A number of his stories were published in the Art Journal.
THE DEATH OF THE ARTIST At the end of 1881, typhus and pneumonia finally undermined his health. V. G. Perov died of consumption in a small hospital near Moscow on the territory of the Kuzminki estate (now the territory of Moscow). He was buried at the monastery cemetery in the Danilov Monastery. His ashes were reburied at the monastery cemetery in the Donskoy Monastery; The exact date of the reburial has not been established.
STYLE OF WORK The paintings of Vasily Perov and his unusual work had a huge impact on the society of that time, prompting a new understanding and understanding of the world, where there is justice, kindness and understanding. Refusing the easy themes of painting, where the artist Perov could very likely earn great fame, he leads a closed life, creating works in the language of colors on canvas denouncing injustice in Russian society, like Gogol ridiculing in his works the snickering rich stratum of society with its disgusting swagger and sycophancy . In the life of any society, sometimes there come moments when it is necessary to change something, the initiators of these changes are individuals who encourage society to enlighten and cultivate integrity. In Russian painting, Vasily Perov is one of the first artists who reveals the theme of the truth of that time, forbidden among his numerous colleagues, looking into all the hidden corners of the original way of life of the oppressed people.
RUSSIAN ARTISTS Wanderers visual arts which was valued much higher than the aesthetic one, setting itself the task of broadly promoting the fine arts, the purpose of which was the social and aesthetic education of the masses, bringing them closer to the life of democratic art. To reveal in his paintings the true living life of the oppressed peasantry, suffering from the power of the landowners and the rich, this was the main task. Many works of the Wanderers were written from life in the style of genre painting, other works were written under the imagination from real life. The Russian Wanderers demonstrated with great persuasiveness the existence of a new creative movement at the first exhibition that opened, gradually emerging from the 60s. At this exhibition, the painting of the Wanderers was demonstrated - paintings by many famous artists all popular genres: portrait, landscape and historical genre. In total, 47 exhibits were exhibited that turned academic ideas about painting upside down, this was the first step in the success of the Wanderers who showed their paintings in a different dimension. By this time, the academy had undergone some changes. as the old settings gradually receded into the past.
PAINTING "ARRIVAL OF THE GOVERNESS TO THE MERCHANT'S HOUSE" Arrival of the governess to the merchant's house, 1866. The theme of the picture corresponds to the critical and ridiculing style of the works of Vasily Perov, who was one of the first to draw attention to the lack of rights of ordinary people of his time, boldly reflecting the truth in his paintings. Similar immoral scenes, as in the picture The arrival of a governess in a merchant's house.
PAINTING “ARRIVAL OF THE GOVERNESS IN THE MERCHANT'S HOUSE” The artist often observed when people are bought and sold like a commodity or even lost at cards. The picture shows a merchant family, smugly looking at the governess girl who came to the service, respectively, not of her own free will, into a completely alien family, where there is no nobility and understanding and any decency. The picture is very close to the spirit famous writer Gogol, the plots of which he often described in his stories. Today, Vasily Perov's painting Arrival of a governess to a merchant's house is located in Moscow in Tretyakov Gallery, its size is 44 by 53 cm, it is written on a wooden base.
PICTURE "TROIKA" Painted in 1866. At the moment she is in Moscow at the State Tretyakov Gallery.
PICTURE "TROIKA" Vasily Perov used gloomy, dim, dark, gray colors to convey the tragedy of the scene. Additionally, the atmosphere is aggravated by the gloomy deserted street of the city. In this picture, Vasily Perov addresses the topic of child labor. Three tired and cold children are dragging a sleigh with a barrel full of water along the winter street. The pouring water freezes with icicles on the surface of the barrel, which once again makes it clear how cold it must be for children. Behind the wagon pushes an adult man. An icy wind blows in the face of the children. The wagon is accompanied by a dog running on the right in front of the children.
PAINTING "TEA DRINKING IN MYTISHHI" The painting Tea Party in Mytishchi was painted by Perov in 1862, commissioned by the administration of the city of Mytishchi to the artist.
PICTURE "TEA DRINKING IN MYTISHHI" real events, which Perov often observed in various outskirts of Moscow important and self-satisfied monks drinking tea, the artist more than once saw ragged cripples begging on the streets near estates, who were usually driven away by maids. The painting Tea Party in Mytishchi by Perov is a revealing genre painting, in which the artist tried to describe in detail the actual events of that time, as if ridiculing the well-fed and snickering audience of serf Russia. Trying to get away from academic painting, Perov reflected the picture Tea Party in gray-brown shades, as if showing this dullness everyday life with their pictorial means. Tea drinking in Mytishchi made a huge impression on the progressive public of that time at exhibitions in Moscow and St. Petersburg, contemporaries called Perov a satirist-genre painter with a deep understanding of Russian life.
PICTURE "HUNTERS ON A REST" Perov painted the painting Hunters on a Rest in 1871. In this work, the artist depicted three hunters resting on a halt after a successful hunt. The artist Perov, one must admit, was himself a passionate hunter.
THE PICTURE "HUNTERS ON A REST" The plot of the painting "Hunters on a Rest" turned out to be directly anecdotal, relative to other works by Perov. Contemporaries reacted differently to the work of the master, Saltykov. Shchedrin criticized the artist for the unnatural looking faces of the hunters, as if they were actors and not live hunters. And Stasov V.V., on the contrary, enthusiastically admired the picture, comparing it with the stories of the writer Turgenev. As a result, there are three hunters with prey in the picture, not two or four, but three, in general, the holy trinity against the background of an evening, somewhat dull landscape, birds are still flying in the cloudy sky, a slight breeze is felt, clouds are gathering.
PORTRAIT OF DOSTOYEVSKY Perov portrait of Fyodor Mikhailovich Dostoevsky. Moving away from dramatic works, Perov often paints portraits, probably the most notable of them, in which the artist Perov displayed the true expression of character famous writer Fyodor Mikhailovich Dostoevsky. The portrait is written on a dark background, the writer posing for the master looks thoughtfully to the side, holding his clasped hands on his knees. The portrait of Dostoevsky was painted without much effort in diversity colors, the artist uses similar shades in many of his other works. In this case, the entire emphasis was placed on the psychologism of the writer's portrait, its spirituality and deep concentration, which Perov actually managed to notice well.
REFERENCES http: //www. art-portraits. ru/portret_perova. html https: //ru. wikipedia. org/wiki/%D 0%9 F%D 0%B 5%D 1%80%D 0%BE%D 0%B 2, _%D 0%92%D 0%B 0%D 1%81 %D 0%B 8%D 0%BB%D 0%B 8%D 0% B 9_%D 0%93%D 1%80%D 0%B 8%D 0%B 3%D 0%BE %D 1%80%D 1%8 C %D 0%B 5%D 0%B 2%D 0%B 8%D 1%87 http: //www. artsait. ru/art/p/perov/main. htm