The Vasnetsov brothers are the cultural heritage of the Vyatka region. Presentation "painters of the 20th century - the Vasnetsov brothers" Vasnetsov brothers artists

"The beauty of the branches depends on the roots"

Almost the entire Vasnetsov family was priestly. In 1678 the psalm-reader of the Trifonov Monastery is mentioned Dmitry Kondratyev son of Vasnetsov. But the roots of the family come from Perm the Great: in 1678, clergymen were mentioned there at the Nyrob churchyard Vasketsovs.

Map of northern Russia, including Great Perm.

Perm Great (Perm Kamskaya) is a historical region in Russia. The cities of Cherdyn, Solvychegodsk, Solikamsk, Kaigorod, and Old Perm were called Perm the Great. The city of Old Perm was located 140 versts from the mouth of the Vychegda.

The surname arose from the name Vasily: Vaska - Vaskets - Vasketsov, and initially looked exactly like Vasketsov. Similar to this, the surnames Ivantsov and Pashketsov were formed.

The Vasnetsovs were people who devoted their lives to serving God and education: priests and teachers.

In 10 districts of the modern Kirov region there are places associated with the activities of this glorious family: these are the cities and villages where the Vasnetsovs lived, churches and schools where they served people.

Mikhail Vasilievich Vasnetsov

The father of future artists, Mikhail Vasilyevich Vasnetsov, after graduating from the Vyatka Theological Seminary, was ordained a priest of the Trinity Church in the village of Lopyal, Urzhum district, where he arrived with his wife Apollinaria Ivanovna, who came from the priestly family of the Kibardins, in 1844. Two children were born in Lopyala - Nikolai and Victor.

Vasnetsov Nikolay Mikhailovich(1845-1893) - teacher, wrote the book “Materials for the Explanatory Regional Dictionary of the Vyatka Dialect”, published in 1908 by the Provincial Statistical Committee.

Vasnetsov Viktor Mikhailovich(1848-1926) - artist, master of historical and folklore painting.

In 1850, the Vasnetsovs moved to the village of Ryabovo. Four more brothers were born here: Alexander, Arkady, Apollinaris, Peter.

Vasnetsov Pyotr Mikhailovich(1852-1899) - agronomist, teacher.

Vasnetsov Apollinariy Mikhailovich(1856-1933) - artist, master of historical painting, art critic.

Vasnetsov Arkady Mikhailovich(1858-1924) - people's teacher, acting as head of the city of Vyatka.

Vasnetsov Alexander Mikhailovich(1861-1927) - Russian folklorist, folk teacher, author of the collection “Songs of North-Eastern Russia” (1894).

Mikhail Vasilyevich gave all six sons their primary education at home. He taught them to read, write, count, and sing. They received their first drawing skills from their father. “I started drawing from very early childhood,” Viktor Vasnetsov later recalled, “and in my very first childhood I drew mostly ships and naval battles - this is distant lands from any sea. Then landscapes and people (peasants, etc.) from memory...”

Of course, the various talents that later manifested themselves in the brothers have hereditary roots from the grandfathers and great-grandfathers of the Vasnetsovs and Kibardins.

The village of Ryabovo - the home of the Vasnetsovs

Ryabovo is a “family nest”; the family has lived here for more than 20 years. In Ryabovo, future artists Viktor Mikhailovich Vasnetsov (1848-1926) and Apollinary Mikhailovich Vasnetsov (1856-1933) saw the beauty of their native land and received their first lessons in painting and life. The surroundings of the village are beautiful, sung by the Vasnetsov brothers: fabulous forests, flowering fields, snow-covered expanses. Quiet Vyatka landscapes, the life and way of life of the people, fairy tales, songs, legends - everything was absorbed into children's souls and reflected in their creativity.

Victor and Appolinary came here when they were already adults and famous; their father and mother are buried here. The brothers loved Ryabovo very much and often remembered their native village, as evidenced by their letters and the memoirs of their contemporaries. On the Ryabov land, undoubtedly, ideas for future paintings arose.

Since 1981, the Vasnetsovs’ house, which has survived to this day, has housed the Memorial Museum. Precious exhibits are carefully preserved: documents, photographs, antiques. A significant place in the museum’s collection is occupied by original paintings by A. M. Vasnetsov, such as “Arable land”, “Oak in Demyanovo”.

Good mentor

The Vasnetsov family of priests is endowed with artistic abilities by nature. Among them were architects who took part in the construction of rural stone churches and the preparation of “artistic drawings” according to which the bell tower of the church in the village of Talye Klyuchi was built. According to their “artistic sketches”, stone church fences and metal gratings for them, trade shops for fairs and their own houses were built. The artistic talent of the Vasnetsov priests was manifested in finishing work and painting the walls of churches, arranging iconostases, and painting paintings.

In the house of Father Mikhail’s mother Olga Alexandrovna Vasnetsova, née Vechtomova, all the walls were hung with her paintings. Later, Viktor Mikhailovich recalled: “... Apollinaris and I saw the first real paintings in the house of our grandmother, to whom our father took us “to pay respects”, as soon as we arrived from the seminary... all under glass, in gold frames, hung decorously in several rows, filling the walls of the living room... We were proud of my grandmother’s talent.”

Mikhail Vasilyevich was a kind and strict mentor for his sons. During the holidays, “my father demanded to see our drawings, looked at them very seriously and severely criticized them, pointing out all the mistakes he noticed. Having finished this matter, somehow a little embarrassed and embarrassed in front of us, the children, he showed his works, drawings and sketches made with oil paints, all kinds of beautiful places surrounding the village.” “Once,” recalled Viktor Vasnetsov, already a student at the Academy of Arts, “we were all writing sketches, and my father’s drawing was unanimously recognized as the best.”

Many years later, in 1929, seventy-year-old Apollinary Vasnetsov, then an academician of the St. Petersburg Academy of Arts, in his autobiographical narrative “How I Became an Artist,” wrote about his father and his childhood in Ryabovo: “Love of nature, falling in love with it, observation was brought up I have a father in me since childhood. When spring came, he called me into the forest to listen to the finches; We placed birdhouses in front of the windows, and in the evenings the whole family walked through the fields. At night he drew my attention to the sky; since childhood I knew the main constellations and stars; the rotation of the firmament and its causes... The love of nature and landscape raised an artist in me, and I owe this to my father. His death shook me to the core... Eternal, heartfelt thanks to my father.”

Mikhail Vasilyevich Vasnetsov departed to the Lord in 1870 at the age of 47 years. Four years earlier, Apollinaria Ivanovna passed away. The brothers' childhood is over. Six children were left orphans.

From the midst of the people

The elder brother Nikolai (1845-1893) was 25 years old by that time. He graduated from the Vyatka Theological Seminary “in the first category,” that is, excellent, and was sent to his homeland in the village of Lopyal as a teacher at the primary school. A few years later he was appointed head of the Shurma two-year school, where he taught Russian, arithmetic, history, natural science, agriculture, drawing, and the Law of God. On his own initiative, in addition to the program, he taught lessons in geography and history of the Vyatka region, considering the main thing in his work to be “to sanctify the soul and heart of a child.” The artistic talent of Nikolai Vasnetsov was manifested in the creation of models of ancient peasant huts, school buildings, churches and cathedrals, which were shown at the Kazan exhibition in 1890 and awarded a medal. But his absolutely unique work, the value and significance of which increases every year, is “Materials for the Explanatory Regional Dictionary of the Vyatka Dialect,” published in 1908 by the Provincial Statistical Committee.

Five other children of Father Mikhail Vasnetsov also received spiritual education and upbringing. Arkady Vasnetsov's artistic abilities manifested themselves in wood carving and creating furniture both from his own drawings and from the sketches of Viktor Mikhailovich. His works decorated many houses in Vyatka and Moscow.

Alexander (1860-1927) was endowed with rare musicality and a beautiful voice. For thirty years, he collected and preserved folk “home” choral songs - and performed them himself with great skill. His book “Songs of North-Eastern Russia” was published in Vyatka in 1894. Its uniqueness was appreciated by contemporaries and descendants.

Two brothers - Victor (1848-1926) and Apollinaris (1856-1933) - became artists. Since childhood, they had amazing powers of observation and the ability to see the deep meaning in everyday life. In the late story “The Rural Icon Painter,” A. M. Vasnetsov, remembering “dear Ryabovo,” made lively, bright sketches, thanks to which you seem to see and hear his characters: “The high staircase leading to the church, on long summer evenings served as a place where local residents basked in the setting sun - watchman Omelyan, sextons Luka and Alexander Ivanovich, Yegor Nikolaevich “in a white linen cassock” and local icon painter Semyon Ivanovich Kopysov. Here they often sat until late at night, scribbling about this and that, deciding everyday matters, the interests of the parish, the diocese, and even the entire Russian state. This same rainbow sun peered through the windows into the church itself, playing on the gilded iconostasis, lamps and vestments on the icons.”

And as if continuing to paint pictures of rural life, V. M. Vasnetsov wrote: “I lived among men and women and loved them not in a populist way, but simply as my friends and pals, listened to their songs and fairy tales, listened to them while sitting on the stove in the light and crackling of a splinter.”

Like his older brother, Victor at the age of ten was sent to Vyatka to study at the Theological School and Seminary. There, the compulsory disciplines included church painting and architecture. From 1855 to 1867 they were led by N. A. Chernyshev, an icon painter and a good draftsman, who “had an icon-painting workshop at home. He painted icons for many churches, including “he had an agreement with the Vyatka Transfiguration Convent to paint icons in the 29 marks of the iconostasis of the cold church.”

V. M. Vasnetsov with his grandson Vitya (1925)

After graduating from the Vyatka Theological Seminary, Victor, and then Appolinary, left their native land and entered the St. Petersburg Academy of Arts, but they did not lose contact with their native land and maintained active correspondence with relatives and friends who lived in Vyatka.

In 1909, the Vasnetsov brothers, already well-known artists throughout Russia, turned to the Vyatka community with a proposal to “set up a gallery in Vyatka and provide their works for it, as well as assist in the acquisition of works by other artists.” The proposal was supported by artists and other representatives of the city's creative intelligentsia. This is how an art museum arose in Vyatka - now the Kirov Regional Art Museum named after V. M. and A. M. Vasnetsov.

The museum houses one of the most significant regional collections of painting: about 18 thousand works of painting and graphics, including 27 works by Viktor Vasnetsov and 25 by Appolinary Vasnetsov, paintings by Shishkin, Levitan, Tropinin, Repin, Surikov, Aivazovsky, Saryan, Kandinsky, and also works by Vyatka artists Rylov and Khokhryakov, Vershigorov, Kharlov, Vopilov.

Viktor Mikhailovich Vasnetsov - painter, master portrait and landscape painter, theater artist

“I look at this tall, stately man, and I believe that it is he who is destined to revive the forgotten traditions of our great ancient Russian painting...” (Nesterov M.V.)

Kuznetsov N. D. Portrait of V. M. Vasnetsov (1891)

Outstanding Russian Itinerant painter, author of heroic-epic and fairy-tale paintings, master of monumental painting, theatrical scenery, graphic artist, creator of a number of architectural projects. Professor, full member of the St. Petersburg Academy of Arts, holder of the Order of the Legion of Honor (France).

“I only lived in Russia.” These words of the artist characterize the meaning and significance of his work.

Baptism of Rus', 1885-1896

Sleeping princess, 1900-1926

The name of Viktor Mikhailovich Vasnetsov is one of the most famous and beloved among the names of Russian artists. His creative heritage is interesting and multifaceted. The painter's talent manifested itself in all areas of fine art. Paintings of the everyday genre - and poetic canvases on subjects of Russian folk tales, legends, epics; illustrations for the works of Russian writers - and sketches of theatrical scenery; portrait painting - and ornamental art; paintings on historical subjects - and architectural projects - such is the creative range of the artist. Vasnetsov the architect is remembered with gratitude by visitors to the Tretyakov Gallery: the façade of this elegant building was designed according to the artist’s design. But the main thing that the artist enriched Russian art with was works written on the basis of folk art. Viktor Mikhailovich Vasnetsov was born in the distant Vyatka village of Lopyal. His father, Mikhail Vasilyevich, a priest, soon after the birth of his son moved to the village of Ryabovo. Mother, Apollinaria Ivanovna, came from an old Vyatichi family. On a very modest income, Vasnetsov’s father had to feed and educate six children. Mother died early. The first thing that the future artist remembered for the rest of his life was the mysterious, bluish twilight of winter twilight blurred throughout the room and the stories of unknown wanderers. “I think I won’t be mistaken when I say that the cook’s tales and the stories of wandering people made me fall in love with the present and past of my people for the rest of my life. In many ways, they determined my path and gave direction to my future activities,” Vasnetsov wrote. Victor received other impressions, no less strong, from his grandmother Olga Alexandrovna. In her youth she was interested in painting. The future artist was breathtaking with happiness when the grandmother opened the lid of the old chest where the paints were. The boy began to draw early, but according to tradition, sons had to follow in their father’s footsteps, and Victor was sent to a theological school in 1858, and soon transferred to the Vyatka Theological Seminary. Vasnetsov’s decision to become an artist was strengthened after a meeting with the exiled Polish artist E. Andrioli. From him he learned about the St. Petersburg Academy of Arts. And Victor decided to try his luck. The rector of the seminary blessed him to pursue the path of a painter, saying that there are many priests, but Rublev is still one. The father also agreed, although he warned that he would not be able to help financially. When Vasnetsov turned to Andrioli for advice, he did not think long. He introduced Victor to Bishop Adam Krasinski, who attracted Governor Kampaneyshchikov, and both of them assisted in holding a lottery - the sale of Vasnetsov’s genre pictures “Priestess” and “Milkmaid”. Sixty rubles and a small amount given by his father made up the entire “substantial” capital of the future artist.

In 1867, Vasnetsov passed the exams for the academy, but, being shy and modest, did not even dare to check himself on the list of those enrolled. The ordeal began: almost without money, in search of a corner and at least some kind of work. Having accidentally met the brother of his Vyatka teacher Krasovsky, Vasnetsov found hope: he helped him get a job as a draftsman in a cartographic establishment. Subsequently, Victor got a job illustrating books and magazines. At the same time, he began to attend the drawing school of the Society for the Encouragement of Artists, where he met the artist I. N. Kramskoy. This acquaintance played a significant role in Vasnetsov’s life. When, in August 1868, Victor again decided to try his luck within the walls of the academy, he, to his surprise, learned that he had been enrolled last year. Here he quickly became friends with Repin, Maximov, Antokolsky. Together with them, in a small apartment on Vasilievsky Island, Vasnetsov listened to the young scientist, historian and poet Mstislav Prakhov, who vividly expounded his teaching about Ancient Rus'. The first year of study at the academy brought the artist a well-deserved reward - a silver medal of the second rank. The following year, 1869, Vasnetsov received another silver medal for his work “Christ and Pilate Before the People.” But from 1871, first due to illness, and then due to lack of time, the regularity of visiting the academy was disrupted. And in 1875, forced to earn his own living, and succumbing to the desire to improve in painting on his own, Vasnetsov left the academy.

By this time, he had already created the genre paintings “Beggar Singers” and “Tea Party in a Tavern” (1874). The latter was so significant that it was accepted into the exhibition of the Itinerants. In 1876, Vasnetsov included in the exhibition the paintings “Book Shop” and “From Apartment to Apartment.” The latter is more successful. Decrepit old men, husband and wife, wander along the ice of the Neva, moving from one closet to another. They have all their meager belongings in their hands. Desertion. Only a pitiful pug, running ahead, is waiting for them. Dressed in poor clothes, bent by poverty and old age, these slum dwellers look especially pitiful against the backdrop of the proudly towering Peter and Paul Fortress. It was not for nothing that they said about Vasnetsov: “He could have been a first-class genre painter... very close in spirit to Dostoevsky.”

From apartment to apartment, 1876

In the spring of 1876, Vasnetsov went to Paris, where Repin, Kramskoy and Polenov had long called him. He closely studied the life of the French people. The result of these observations was the painting “Booths in the Outskirts of Paris” (1877). A year later, returning to Russia, Viktor Vasnetsov got married to Alexandra Vladimirovna Ryazantseva. He created his family in the likeness of his father’s, patriarchal family. Vasnetsov lived for almost fifty years in happy family harmony. As his wife later recalled, when they moved to Moscow, the artist loved to wander through the old Moscow streets. And when he returned home, he often said: “How many miracles I have seen!” In front of St. Basil's Cathedral I could not hold back my tears. What was seen and experienced matured into the painting “Tsar Ivan Vasilyevich the Terrible,” conceived at the turn of the 1880s and executed in 1897. The figure of the Tsar occupied almost the entire canvas. Ivan the Terrible, dressed in a brocade opashen, in a cap with icons, and in embroidered mittens, descended the steep stairs. His appearance was majestic, his face expressed will, great intelligence and at the same time suspicion, embitterment and anger. The strictly consistent color scheme of the painting created the impression of monumentality. As always, Vasnetsov had a successful background for the canvas: a massive wall, covered with rich paintings, in its thickness there is a small window, from which the old wooden Moscow, covered with snow, can be seen far below. The ornamentation of wall paintings, print patterns, and embroidery added a decorative touch to the work.

Tsar Ivan Vasilyevich the Terrible, 1897

In 1878, Vasnetsov began painting “After the Massacre of Igor Svyatoslavich with the Polovtsians,” which became one of the first in his new historical epic cycle. In it, the artist wanted to solemnly, sadly and poetically glorify the heroism of Russian soldiers, as the creator of “The Tale of Igor’s Campaign” did. That is why he depicted not the horrors of battle, but the greatness of death for the homeland. Peace emanates from the bodies of the fallen. The beautiful, mighty hero, lying with his arms spread wide, and the young prince in azure robes personified the idea of ​​selfless service to the homeland. The color scheme of the painting created an alarming mood. Against the dark green background of the steppe, the intense red shields and red boots of the warrior are illuminated by the crimson moon. The tragic sound of the picture was enhanced by the contrast between the themes of death and beauty: images of killed soldiers against the backdrop of lush green grass, soft blue flowers, and beautiful clothes. However, the picture did not meet with unanimous approval. She was so unusual that there could not be a single opinion about her. Only Repin and Chistyakov immediately felt the “important” thing in the film. The latter wrote in a letter to Vasnetsov: “The Russian spirit was so distant, so grandiose and in its own way original, that I simply became sad: I, a pre-Petrine eccentric, envied you...”

After the massacre of Igor Svyatoslavich with the Polovtsians, 1880

Despite the non-recognition of the picture by most critics, Vasnetsov did not abandon his chosen path and by 1882 he created “The Knight at the Crossroads.” The artist depicted a twilight steppe, a former battlefield with bones scattered across it. The evening dawn is burning down. A prophetic stone stands as a warning at the crossroads of three roads. The knight who stopped in front of him was immersed in deep thought (Stasov gave Vasnetsov the idea to inscribe an epic inscription on a dense stone). In the image of a knight at a crossroads, the artist seemed to involuntarily depict himself, his difficult thoughts about the future.

The Knight at the Crossroads, 1882

In Moscow, Viktor Vasnetsov met the family of Savva Mamontov, and this became an important event in the artist’s life. Soon this philanthropist ordered him three paintings for the meeting room of the Donetsk Railway: “The Battle of the Russians with the Scythians,” “The Flying Carpet,” and “The Three Princesses of the Underground Kingdom.” “The first picture was supposed to depict the distant past of the Donetsk region, the second - a fairy-tale method of transformation, and the third - princesses of gold, precious stones and coal - a symbol of the deity of the depths of the awakened region,” Mamontov’s son recalled the idea of ​​these works. All three pictures were as life-affirming as the fairy tales themselves.

Flying carpet, 1880

One of the artist’s most poetic creations is the painting “Alyonushka” (1881) - an image of a bitter orphan’s lot. A lonely sad girl sits on a stone by the water. There are forests around. And, as if taking part in her grief, they bend over to the orphan aspen tree, guard her slender fir trees, and swallows chirp affectionately over her. The figure of Alyonushka is inextricably linked in the picture with the landscape. The girl's heart is sad, and nature is sad. There is grief in Alyonushka’s brown eyes, and like her grief, the pool is dark and deep. Tears are falling and golden leaves are flying down. The color of the girl’s hair echoes the tone of autumn foliage. The composition is built on a strict rhythm, on the smooth flow of the lines of her figure with a bowed head and the slopes of the plants, which adds melodiousness to the picture. The poetry of this work is deeply national. Like a native folk song, it is understandable to the viewer. This is one of the best paintings of Russian art.

Alyonushka, 1881

From the point of view of the new popular understanding of the topic, one can also consider the artist’s work on the stage embodiment of “The Snow Maiden”. When Repin saw Vasnetsov’s scenery and costumes for this opera, 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." The artist’s gift was especially clearly expressed in the decoration depicting Berendey’s Chamber. Here are conveyed, perhaps, all the forms that ancient architecture knew in the interior decoration of towers. Berendeys and Berendeykas performed against the backdrop of these amazing scenery. It was impossible not to believe in the existence of this country. Vasnetsov’s activity as a decorator was short-lived, but quite fruitful: the scenery for Shpazhinsky’s drama “The Enchantress” and for Dargomyzhsky’s opera “Rusalka”. And even after many decades, the drawing of the magical underwater scenery in “Rusalka”, created by Vasnetsov, varied only slightly.

From 1875 to 1883, the Historical Museum, a huge building for those times, was erected in Moscow. The order for the painting “Stone Age” was obtained for Vasnetsov by Adrian Prakhov, brother of the historian M. Prakhov. This panel was supposed to open the museum's exhibition. The new theme required the artist to use a new painting technique. Here his painting style comes closest to the language of fresco. Vasnetsov used matte paints and, although he painted in oil, managed to achieve the complete illusion of painting with water paints on gray plaster, conveying the dim colors of earth, clay, naked bodies, water, and animal skins. All contemporaries highly appreciated this work, but Vasnetsov was especially pleased with Chistyakov’s praise: “Vasnetsov reached the point of clairvoyance in this picture.”

The same surprise as the order for the panel was for the artist the sudden offer to paint for the Vladimir Cathedral in Kyiv. And again the proposal came from Prahov. At first, Vasnetsov decided to refuse the order, but financial difficulties forced him to take up painting. For ten years (1880-1890), six of which he lived in Kyiv, the artist and his assistants painted 2880 square meters in the Vladimir Cathedral, made 15 compositions, and painted 30 individual figures. These works contain the strict Byzantine faith, the soft poetry of fairy tales, and the power of epics. Here is the Mother of God with the Child: she seems to be hovering above the earth, her typical Russian face is beautiful, it is full of love and sorrow. In the face of the baby, whom she carefully hugs to herself and carries into the world, there is also a kind of premonition of upcoming torment and suffering, but there is also compassion for sinners. It is not for nothing that the artist himself, speaking about his icon painting works, stated: “My art is a candle lit before the face of God...”. Vasnetsov worthily resumed the living and visible school of icon painting. Subsequently, recalling this period of creativity, the artist was surprised: “Apparently, in youth everything is possible.” He fell from the scaffolding and was broken. To perform difficult work, strong strength of mind and body was required. Many years later, in response to the artist Nesterov’s remark about whether Viktor Mikhailovich had buried himself in fairy tales from life, he replied: “Where was it higher after the Vladimir Cathedral? Where? Write bills of sale? After God?! No higher! But there is something that stands on par. This, brother, is a fairy tale.”

And this fairy tale - work was moving towards the end. Vasnetsov’s “Bogatyrs” sounded in Russian art no less loudly and victoriously than Borodin’s “Bogatyrskaya Symphony”. In this picture there is a hill from which the distant horizon opens. The characters of the canvas are three horsemen in ancient Russian equipment on war horses. This is a heroic outpost. Ilya Muromets is stocky and powerful. He easily holds a “damask club” in his hand. His straightforwardness and honesty are evidenced by the large, kind features of a peasant face. Dobrynya looks completely different. Exquisite decoration and elegance of equipment indicate the noble origin of the hero. His gaze is stern and strict, full of justice and nobility. Psychologically, Alyosha Popovich is more difficult. He defeats the enemy not so much with strength - he doesn’t have much of it - but with cunning and acumen. Alyosha is a joker and a merry fellow, in his right hand there are “little goosebumps.” Thus, in a combination of courage and pride, intelligence and dexterity, and unbending greatness of spirit, the heroic outpost of Ancient Rus' is embodied in Vasnetsov’s painting. The laconic landscape palpably conveys the vastness and vastness of Russian fields. “Bogatyrs” was a brilliant conclusion to the heyday of the artist’s work.

Bogatyrs, 1881-1898

Vasnetsov worked on folklore themes (“Bayan”, 1910; “The Sleeping Princess”, “The Frog Princess”, both in 1918; “Princess Nesmeyana”, 1914-1926) until the end of his life, but with the same strength in these images no longer existed. Having devoted his life to serving goodness and beauty, he could not accept the “new” life with its political cataclysms, revolution and Civil War without pessimism, fatigue and disappointment. More and more often, contemporaries saw the artist in Trinity Church. The bent figure of Viktor Mikhailovich seemed to confirm his words: “God must not be blurted out, but suffered through.” Vasnetsov died on July 23, 1926 at the age of 79. After evening tea he headed to his little room. After some time, the family heard something fall. The artist died of a broken heart, instantly, without illness or suffering. They say that this is how the soul leaves, which seeks Divine beauty and truth and finds peace in heaven. It was only after his death that his contemporaries truly appreciated his work. In an article published in the Bulletin of Knowledge, it was written that in the history of Russian painting, the role of Vasnetsov is “equivalent and equivalent” to the role of Pushkin in Russian poetry. And there is no exaggeration in this assessment.

Apollinary Mikhailovich Vasnetsov - landscape painter, theater artist

“Recently, there has been a tendency among artists and critics, the essence of which boils down to the proposition: “it doesn’t matter what to write, but what matters is how to write.” This is almost tantamount to denying one of the theses: the internal image, comprehended by a deep inner feeling, which is usually accepted call it “content.” (Vasnetsov A.M.)

Kuznetsov N. D. Portrait of A. M. Vasnetsov

He studied painting with V.M. Vasnetsov, his older brother. In the 1870s, imitating the populists, he became a rural teacher. From 1880 to 1887 he lived in St. Petersburg, worked in the magazines “Picturesque Review”, “World Illustration”, was a member of the “Association of Peredvizhniki” and one of the organizers of the “Union of Russian Artists” (1903). Vasnetsov traveled a lot; an important place in his art is occupied by landscapes of the Urals and Siberia, made in the style of northern modernism (“Taiga in the Urals. Blue Mountain”, 1891; “Kama”, 1895). At the beginning of 1900 he was already a famous artist.

By 1900, A. M. Vasnetsov became a famous artist. He produced the first monumental canvases from the history of Moscow, in which Vasnetsov strives to show the appearance and very life of pre-Petrine Moscow. To do this, he had to become a research scientist. Best historical paintings: “Street in Kitai-Gorod. Beginning of the 17th century”, “Moskvoretsky Bridge and Water Gate. Mid-17th century”, both – 1900; “All Saints Stone Bridge. The end of the 17th century”, 1901, and many others. For his services in the artistic field, the St. Petersburg Academy of Arts awarded Vasnetsov the title of academician.

From 1901 to 1918, Vasnetsov taught at the Moscow School of Painting, Sculpture and Architecture; after the death of I. I. Levitan, he led the landscape painting class. In 1900, Vasnetsov was awarded the title of academician.

At the turn of the century, Vasnetsov became interested in theatrical and decorative arts. He worked on the design of a number of performances: “Ivan Susanin” (1885), “Khovanshchina” (1897), “Sadko” (1899) for the Private Russian Opera of S. I. Mamontov.

In 1906, the artist became a member of the Moscow Archaeological Society, and in 1918, chairman of the Commission for the Study of Old Moscow. For the second volume of “The History of Russian Art”, published in 1910 under the editorship of I. E. Grabar, he wrote the chapter “The Image of Old Moscow”. He criticized the decadents and advocated the separation of modernity and avant-garde. He painted picturesque sketches of Moscow and the Moscow region. Vasnetsov died in Moscow in 1933.

Taiga in the Urals. Blue Mountain, 1891

Motherland, 1886

Elegy, 1893

At dawn near the Resurrection Bridge, late 17th century

Siberia, 1894

Lake, 1902

Kama, 1895

Red Square in the second half of the 17th century, 1925

Viktor Mikhailovich Vasnetsov is one of the most famous Russian artists, his brother Apollinaris is also known, but rather to those who are interested in historical painting and theater. The other Vasnetsov brothers, in particular Arkady, are in the shadow of the glory of the great painter and storyteller. But Viktor Vasnetsov as a phenomenon in world art could not have happened if not for the atmosphere of creativity, conscientious service to art, familiar to each of the brothers from early childhood and which led several of them to a wonderful hobby - creating carved wooden furniture.

The beginning of a creative life

Love for art manifested itself to one degree or another in all the brothers - Nikolai, Victor, Peter, Apollinaris, Arkady and Alexander. Mikhail Vasilyevich himself gave all six of them primary education.
As he grew older, Viktor Vasnetsov began taking drawing lessons near his home, and then completely left for St. Petersburg to get an education at the Academy of Arts. There he met many famous masters, including Kramskoy, Repin, Nesterov, and entered the famous Mamontov circle - a creative community that arose around the philanthropist Savva Mamontov and his estate in Abramtsevo.

Apollinary Mikhailovich, Victor's younger brother, took lessons as a child from the Polish artist Michal Elviro Andriolli, who worked in the field of romanticism, but never received an academic education, despite studying in St. Petersburg with such painters as I. Repin and V. Polenov . Apollinary Vasnetsov entered the history of Russian art thanks to his images of old Moscow - not only highly artistic, but also created with impeccable historical accuracy.

Another main work of his life was creating scenery for theatrical productions - including the operas “A Life for the Tsar”, “Khovanshchina”, “Snow Maiden”, “Sadko”. Apollinaris had a direct connection to the Abramtsevo circle, constantly maintaining communication with its representatives. A special event in the life of Abramtsevo was the creation of a carpentry workshop.

Abramtsevo and its influence on the work of the Vasnetsovs

At the end of the 19th century, interest in folk culture increased noticeably, and the All-Russian Art and Industrial Exhibition, held in 1882, inspired many artists to turn to the theme of applied art. Another famous philanthropist, Sergei Timofeevich Morozov, from the Morozov dynasty of merchants, acquired the property exhibited at the exhibition and a few years later opened the Museum of Handicrafts, which, among other things, exhibited items created by furniture craftsmen.

Members of the Abramtsevo circle, and first of all Vasily Polenov’s sister Elena, Victor and Apollinary Vasnetsov, Elizaveta Grigorievna Mamontova, took an active part in searching for examples of folk art and creating their own sketches for armchairs, shelves, sideboards, chests of drawers and other wooden pieces of furniture, which not only came to the attention of museum visitors, but also served primarily for the convenience and decoration of the interior in the houses of the artists themselves.

Over the ten years of operation of the carpentry workshop in Abramtsevo, more than a hundred products were created, including those created by the Vasnetsov brothers. Here Apollinaris created designs for the interior of his apartment.

The oak sideboard, with a pediment decorated with carved apples and antique-style bolts, resembles a Russian mansion. And the other, also by Apollinaris, seems to return to the distant past - its doors are designed like mica windows, and the carving elements contain images of cockerels, grapes, figurines of the magical birds Alkonost and Sirin.

These pieces of furniture still decorate the artist’s apartment - it houses a museum where his works and interior items are collected, which Apollinaris not only created himself, but also found at the famous Sukharevsky market, located nearby. One of these acquisitions was a chest-headrest - a casket that was taken on the road and placed under the head at night.

Works by masters of the Abramtsevo workshop, as well as the workshop of the Handicraft Museum in Sergiev Posad, where artists’ sketches were often used for products - the embodiment of the neo-Russian style in decorative and applied arts, and perhaps its most complete expression was the arrangement of the house of Viktor Vasnetsov, decorated in the form of a fabulous Russian tower.

House-Museum of Viktor Vasnetsov

The artist paid special attention to the interior of his house - just mention the huge light-filled workshop on the second floor, where a spiral wooden staircase led, and armor hung on the wall - to depict heroes on the canvases. The entire furnishings in Vasnetsov’s house were invented or created by him himself. Chairs and armchairs based on Victor’s sketches were made by his younger brother Arkady, an excellent woodcarver and a national teacher by profession.

In the Abramtsevo workshops, a large oak table, chairs at the table, a bench, and a small sideboard “with owls” were made.

In the dining room there was a buffet made by Arkady according to Victor’s design - a buffet that received the name “self-assembled”. It seemed that the dishes appeared in it by themselves - the whole point is that a door was made in the back wall of the buffet, facing the kitchen, and when the owner of the house clicked - like in a fairy tale - the cook placed the dishes inside.
The stove in Vasnetsov’s house also became fabulous – also in the form of a mansion, the tiles for which were made in Abramtsevo by Vrubel.

The atmosphere of Vasnetsov's house, which can hardly be called a museum - the living, residential atmosphere in it has been so preserved, is permeated with both the spirit of antiquity and the individuality of the artists who created for the house or visited it.
luxury French secretaire.

Viktor Mikhailovich Vasnetsov was born in 1848 on May 15 in a village with the funny name Lopyal. Vasnetsov's father was a priest, as were his grandfather and great-grandfather. In 1850, Mikhail Vasilyevich took his family to the village of Ryabovo. This was due to his service. Viktor Vasnetsov had 5 brothers, one of whom also became a famous artist, his name was Apollinaris.

Vasnetsov’s talent manifested itself from childhood, but the extremely unfortunate financial situation in the family left no options for how to send Victor to the Vyatka Theological School in 1858. Already at the age of 14, Viktor Vasnetsov studied at the Vyatka Theological Seminary. Children of priests were taken there for free.

Having never graduated from the seminary, in 1867 Vasnetsov went to St. Petersburg to enter the Academy of Arts. He had very little money, and Victor put up 2 of his paintings for “auction” - “The Milkmaid” and “The Reaper”. Before leaving, he never received money for them. He received 60 rubles for these two paintings a few months later in St. Petersburg. Arriving in the capital, the young artist had only 10 rubles.

Vasnetsov did an excellent job in the drawing exam and was immediately enrolled in the Academy. For about a year he studied at the Drawing School, where he met his teacher -.

Vasnetsov began studying at the Academy of Arts in 1868. At this time, he became friends with, and at one time they even lived in the same apartment.

Although Vasnetsov liked it at the Academy, he did not graduate, leaving in 1876, where he lived for more than a year. At this time, Repin was also there on a business trip. They also maintained friendly relations.

After returning to Moscow, Vasnetsov was immediately accepted into the Association of Traveling Art Exhibitions. By this time, the artist’s drawing style was changing significantly, and not only the style, Vasnetsov himself moved to live in Moscow, where he became close to Tretyakov and Mamontov. It was in Moscow that Vasnetsov came into his own. He liked being in this city, he felt at ease and performed various creative works.

For more than 10 years, Vasnetsov designed the Vladimir Cathedral in Kyiv. M. Nesterov helped him in this. It was after the completion of this work that Vasnetsov can rightfully be called a great Russian icon painter.

1899 became the peak of the artist’s popularity. At his exhibition, Vasnetsov presented to the public.

After the revolution, Vasnetsov no longer lived in Russia, but in the USSR, which seriously depressed him. People destroyed his paintings and treated the artist with disrespect. But until the end of his life, Viktor Mikhailovich was faithful to his work - he painted. He died on July 23, 1926 in Moscow, without finishing the portrait of his friend and student M. Nesterov.

Victor and Apollinary Vasnetsov are original artists, each in their own way expressing the Russian spirit, the Russian idea.

Viktor Mikhailovich Vasnetsov lived a long, beautiful and difficult life. One of the most famous Russian artists of the 19th century, he knew enthusiastic admiration and a coldly restrained, to the point of complete rejection, attitude towards his work, enormous success and sharp criticism of his works.

It cannot be said that he was indifferent to both popularity and criticism. But the inner strength felt by everyone in him seemed to lift him above both praise and blasphemy. He was called “the true hero of Russian painting.” This definition was born thanks to contemporaries’ awareness of the significance of the artist’s personality, understanding of his role as the founder of a new direction in Russian art, which really required heroic strength. He was the first among painters to turn to epic fairy-tale subjects. When the surname “Vasnetsov” sounds, fairy-tale images of Bogatyrs, the flying carpet, Alyonushka and the Gray Wolf appear in your thoughts. Only a very kind artist could paint them with such love. “Bogatyrs”, or “Three Bogatyrs”, is the most famous painting created by the artist Viktor Vasnetsov. This popular image, replicated in Soviet times on rugs, tablecloths and other objects, is the first to come to mind when thinking about heroic strength. “The Troika did not appear by chance, the Trinity was not invented in vain, because it is not for nothing that in every Russian teahouse there is a painting “Three Heroes...” Just as there is no Moscow without Red Square, we cannot imagine Russia without the fairy-tale characters of Viktor Vasnetsov.

But for his contemporaries, “the main merit was that he destroyed the terrible prejudices that fettered the opinions of our society and in particular our artists. He was one of the first for whom the confines of an easel painting became cramped and who “turned to decorating life”, took up the most diverse areas of art - theatrical decoration, architecture, applied art and illustration, which at that time was inexplicable for many and was perceived as “ waste of talent." Thus, it is obvious that Vasnetsov’s appeal to various areas of art was not a free play of overflowing creativity, but rather a conscious, purposeful implementation of the social and aesthetic ideal that gradually developed in him. In the formation of this ideal, the origin of the artist and his childhood and youth played a huge role.

The younger brother of the famous Viktor Vasnetsov, much less famous, Apollinary Vasnetsov was by no means his timid shadow, but had a completely original talent.

An excellent master landscape painter, A.M. Vasnetsov became famous as an expert and inspired poet of old Moscow. It’s rare that someone, having once seen it, will not remember his paintings, watercolors, drawings, recreating the excitingly fabulous and at the same time so convincingly real image of the ancient Russian capital.

Apollinary Vasnetsov did not receive a systematic art education. His school was direct communication and joint work with the largest Russian artists, his brother, I. E. Repin, V. D. Polenov and others.

Vasnetsov's art is deeply national and democratic. It was fed by sources that went into the very depths of people's life. Russian nature, the life of the people, their history are the main themes in the artist’s paintings. A remarkable master of epic and historical landscapes, he also wrote several scientific works on the theory of art, history, and archeology. These works, interesting in themselves, contributed to the enrichment and deepening of the content of his artistic works.

The Vyatka period in the biography and work of V.M. Vasnetsov (1848-1926) and A. M. Vasnetsov (1856-1933) is determined from the time of their birth until the autumn of 1878, when Viktor Mikhailovich and his wife Alexandra Vladimirovna finally left Vyatka, and after them their younger brother Apollinaris moved to Moscow.

Viktor Vasnetsov was born in the Vyatka region on May 15, 1848 in the family of a village priest Mikhail Vasilyevich Vasnetsov and Apollinaria Ivanovna in the village of Lopyal, Urzhum district. Two days later, the baby was baptized in the local Trinity Church, and grandmother Olga Aleksandrovna Vasnetsova from Kurchumsky came to see her grandson for baptism. Of the 6 brothers, she bestowed her grace on one Victor - she became his godmother. In 1850 the family moves to Ryabovo. Apollinary Mikhailovich Vasnetsov was born in 1856 in the village of Ryabovo. The first decade of the Vasnetsovs’ life in Ryabov was associated with the strengthening of everyday life and family. In 1854, the construction of the Vasnetsov house was completed according to the urban model, on a stone foundation and with five windows. In the Vasnetsovs’ house, the ways of village and city life coexisted. Thanks to the care of Mikhail Vasilyevich and Apollinaria Ivanovna, the children grew up in a warm, cozy environment, “in common family joy.” In terms of material conditions, the life of a large family was more reminiscent of the life of a middle peasant. “I lived in a village among men and women,” the artist V.M. Vasnetsov later recalled, “and I loved them not populistically, but simply as my friends and acquaintances, listened to their songs and fairy tales, listened to them, sitting at gatherings in the light and the crackle of a splinter." Childhood impressions had a great influence on the artist’s work. We can say that in the wilderness of our Vyatka forests his passionate attachment to folk tales and epics arose, and the unique art of Vyatka craftsmen - wood carvers, masters of painted clay toys, popular prints - aroused interest in fairy-tale creativity. The nature of the region with hilly copses and taiga dense forests, winding rivers and wide plains concealed a special charm and charm. It was impossible not to love her, not to become attached to her with your heart. From childhood, Vasnetsov heard epics and fairy tales about Russian heroes, lingering sad songs that women sang at gatherings in the light of splinters. This could not but influence the formation of the future artist’s worldview and the development of his talent. Here, on Ryabovskaya land, the plans for his future paintings arose. It was in Vyatka that his passionate attachment to art and the folk epic arose.

In their father's house the brothers learned to read and write, sing and count. The sons also received their first drawing skills from their father. The family read scientific magazines, drew, and painted in watercolors. In Kurchumskoye, at Olga Alexandrovna’s, Victor and Apollinary saw “real paintings” - grandmother’s watercolors. The Vasnetsov brothers adopted the artistic experience of their grandmother and father.

The brothers were directly connected with Vyatka as a provincial city from the moment Victor arrived to enter the educational institution. In 1858, he was sent to study at the Vyatka Theological School, and then transferred to the seminary, where he studied until 1867. Successfully studying in the drawing class, Victor brought his drawings from plaster and genre sketches. In a creative environment, Apollinaris also had a desire to draw; his first experiments with charcoal and chalk appeared on the log walls of the mezzanine. Victor was already studying at the higher theological department of the seminary when Apollinaris came to Vyatka to repeat the path of his older brother. In 1866 he entered the Vyatka Theological School. The elder brother began to skillfully guide his younger brother’s abilities. He taught him drawing, vigilantly watching the form, technique and choice of nature. All albums of that time were made under the leadership of Victor. In his early drawings of that period, Apollinaris depicted his native village of Ryabovo, its picturesque surroundings, and village life.

The Vyatka period for Viktor Vasnetsov was interrupted in the summer of 1867. Without completing the full course of the seminary, Victor leaves for St. Petersburg to enter the Academy of Arts. Vasnetsov’s first year in St. Petersburg undoubtedly played a positive role: he eagerly absorbed the impressions of the big city, made a decision and began studying at the School for the Encouragement of Artists. Ilya Nikolaevich Kramskoy and his immediate circle had a great influence on Vasnetsov during this period. In the fall of 1868 he began studying at the Academy and found himself in the center of the turbulent life of young artists. Here he struck up a great friendship with I.E. Repin and M.M. Antokolsky.

The second and most productive stage of Victor’s stay in Vyatka began in March 1870, when he came to bow to his father’s grave and stayed for six months. The village priest M.V. Vasnetsov, 46 years old, was buried in the church cemetery, next to his wife, who died in 1866. The Vasnetsov family was orphaned, and Victor’s father’s house seemed deserted. He had a hard time with the untimely death of his parents. Communication with the Ryabov peasants became a consolation for him. And from August 1871 He settled in his homeland again for a whole year to help his younger brothers and improve his health. Vasnetsov visited his homeland, lived in his father’s house in Ryabov, and gained fresh new impressions. The works of that period show the increased skill of the novice artist. Both in Ryabov and Vyatka, Victor studied with his younger brother, Apollinaris, in whom he saw a future artist. After looking through all his brother’s drawings over the past two years, he realized that another artist was growing in the family and decided to take him with him to St. Petersburg. In St. Petersburg, Victor sent his brother to study with the Polish artist Elviro Andriolli, who was exiled to Vyatka for participating in the 1863 uprising. Andriolli was a man of very progressive views, which could not but affect the further formation of the democratic worldview of Apollinary Vasnetsov. A three-year stay in St. Petersburg had a decisive influence on the development of Apollinaris as an artist and a person. Here he met I.N. Kramskoy, I.E. Repin, M.M. Antokolsky, P.P. Chistyakov, I.I. Shishkin. Apolinarius dreams of entering the Academy, but he did not have a secondary education. To receive his diploma, in 1875 he returned to Vyatka and entered the Zemstvo Agricultural School. He continues to draw. At the suggestion of the famous publisher F.F. Pavlenkov, he completed illustrations for two books - “The Alphabet-Kopek” and “Visual Inconsistencies”. The formation of personality during this period was greatly influenced by the ideas of populism, which became widespread in Vyatka. Vasnetsov passed the exams for the title of national teacher and left for the village of Bystritsa, Oryol district. Vasnetsov treated his teaching duties with great responsibility. The collapse of the ideas of populism at the end of the 70s brought confusion into the soul of A. Vasnetsov. For many years, the artist reflected on the fate of the Russian people, for whom he carried love and devotion throughout his life. But it was precisely during these years that Apollinaris’s work acquired that artistic direction, which was based on a deep interest in his native history and culture.

At this time, Victor works a lot. In 1876, on the advice of Repin, he went to France and lived there for about a year, studying the works of old masters in museums, getting acquainted with French art. In 1877 he returned to St. Petersburg. In 1878 he moved to Moscow and became close to S.I. Mamontov and P.M. Tretyakov and becomes a member of the TPHV. Moscow has long attracted the artist. Life in Moscow was developing happily. In 1878, A. Vasnetsov left the village, went to Moscow, to his brother, and since then he has devoted all his energy undividedly to art, close and understandable to the people, glorifying his native nature, talentedly recreating pictures of the past of his country. “Having found myself in Moscow in 1878, after country life,” Vasnetsov recalled, “I was amazed by the view of Moscow, of course, mainly by the Kremlin. I lived not far from it on Ostozhenka, and my favorite walks after work were circling around the Kremlin: I admired its towers , walls and cathedrals."

Already in the first years of his stay in Moscow, the artist developed a special interest in its architectural monuments, which later resulted in a serious hobby that determined one of the essential aspects of his work.

In Moscow, Vasnetsov began to intensively study painting, as if trying to make up for lost time. For many years, his constant mentor and essentially his main teacher was brother Viktor Mikhailovich. Under his leadership, Apollinaris worked hard and hard, achieving increasingly noticeable success.

The Vasnetsov brothers showed kindred and friendly feelings towards each other throughout their lives. The manifestation of human feelings was affected by the ability to love, brought up by parents and environment from childhood. Later, traveling around the world, Apollinaris always corresponded with his brother, and from 1892 they were already inseparable. Victor's influence on the formation of Apollinaris as an artist was undeniable.

Victor and Apollinary Vasnetsov are original artists, each in their own way expressing the Russian spirit, the Russian idea. Their art is still alive today; they have left a rich artistic heritage. Their names occupy an honorable place in the history of Russian art. They were the first among Russian artists who revealed in their work all the depth and beauty of folk wisdom, who affirmed humanism and deep faith in the strength and greatness of their Motherland.

Viktor Mikhailovich died on June 23, 1926 in Moscow, and was buried at the Vvedensky cemetery. Apollinaris died on January 23, 1933 and was buried near his brother.

So, you and I have just plunged into the story of the life of the Vasnetsov brother-artists in Vyatka. Their work truly deserves admiration, as they were true masters of their craft, great artists.

The “Vyatka” brothers Vasnetsov - Nikolai, Arkady and Alexander - made a great contribution to the development of their native Vyatka region, with their whole lives they showed that they were not only honest performers of the duties of zemstvo teachers, but were gifted people who creatively realized their abilities for the benefit of the common people , among whom they lived, whose children they raised, investing in them the best spiritual principles.

Each of them left behind scientific works, the relevance of which is especially obvious today. Their brother Nikolai compiled “Materials for an explanatory dictionary of the Vyatka dialect.” Arkady wrote the book “Russian Schoolboy” and was an excellent woodcarver, and the younger Alexander collected and published a collection of Vyatka songs “Songs of North-Eastern Russia”. Each of them contributed their share to the development of art, inherited over the centuries from the simple Vyatka people.

The biography of the Vasnetsovs, their creative and economic activities are connected in the Kirov region with many villages in which the eternal history of this famous family remains.

Based on materials from researchers of the famous family, it is known that the Vasnetsovs lived in more than 30 villages. Many villages are in a state of dying, as there are few residents left.

Description of the presentation by individual slides:

1 slide

Slide description:

MAOU "Bigilinskaya secondary school" branch of Pershinskaya secondary school Completed by: 9th grade student Valeria Korepanova.

2 slide

Slide description:

VASNETSOV, VIKTOR MIKHAILOVICH. VIKTOR MIKHAILOVICH VASNETSOV WAS BORN ON MAY 15, 1848 IN THE RUSSIAN VILLAGE OF LOPIAL, URGZHUM DISTRICT, VYATKA PROVINCE, INTO THE FAMILY OF THE ORTHODOX PRIEST MIKHAIL VASILIEVICH VASNETSOV (1823-1870), BELONGING TO THE ANCIENT VYATSK FAMILY OF THE VASNETSOVS.

3 slide

Slide description:

He studied at the Vyatka Theological School (1858-1862), and then at the Vyatka Theological Seminary. He took drawing lessons from the gymnasium art teacher N. G. Chernyshev. With the blessing of his father, he left the seminary in his penultimate year and went to St. Petersburg to enter the Academy of Arts. He studied painting in St. Petersburg - first with I. N. Kramskoy at the Drawing School of the Society for the Encouragement of Artists (1867-1868), then at the Academy of Arts (1868-1873). During his studies, he came to Vyatka and met the exiled Polish artist Elviro Andriolli, whom he asked to paint with his younger brother Apollinaris. After graduating from the Academy, he traveled abroad. He began exhibiting his works in 1869, first participating in exhibitions of the Academy, then in exhibitions of the Itinerants.

4 slide

Slide description:

Member of the Mamontov circle in Abramtsevo. In 1893, Vasnetsov became a full member of the Academy of Arts. Kuznetsov N.D. Portrait of V.M. Vasnetsov (1891) After 1905, he was close to the Union of the Russian People, although he was not a member of it, and participated in the financing and design of monarchist publications, including the “Book of Russian Sorrow.” In 1912 he was granted “the dignity of the nobility of the Russian Empire with all descendants.” In 1915 he participated in the creation of the Society for the Revival of Artistic Rus', along with many other artists of his time. Viktor Vasnetsov died on July 23, 1926 in Moscow, was buried at the Lazarevskoye cemetery, after the destruction of which the ashes were transferred to the Vvedenskoye cemetery.

5 slide

Slide description:

In Vasnetsov’s work, various genres are clearly represented, which have become stages of a very interesting evolution: from everyday life writing to fairy tales, from easel painting to monumental painting, from the earthiness of the Wanderers to the prototype of the Art Nouveau style. At an early stage, Vasnetsov’s works were dominated by everyday subjects, for example, in the paintings “From Apartment to Apartment” (1876), “Military Telegram” (1878), “Book Shop” (1876), “Booth Shows in Paris” (1877).

6 slide

Slide description:

Later, the main direction became the epic-historical - “The Knight at the Crossroads” (1882), “After the Battle of Igor Svyatoslavich with the Polovtsians” (1880), “Alyonushka” (1881), “Ivan Tsarevich on the Gray Wolf” (1889), “Bogatyrs” "(1881-1898), "Tsar Ivan Vasilyevich the Terrible" (1897). In the late 1890s, a religious theme occupied an increasingly prominent place in his work (works in the Vladimir Cathedral in Kiev and in the Church of the Resurrection (Church of the Savior on Spilled Blood) in St. Petersburg, watercolor drawings and, in general, preparatory originals of wall paintings for the cathedral St. Vladimir, painting of the Church of the Nativity of John the Baptist on Presnya Vasnetsov worked in a team of artists who designed the interior of the Church-Monument of Alexander Nevsky in Sofia

7 slide

Slide description:

8 slide

Slide description:

He collaborated with artists M. V. Nesterov, I. G. Blinov and others. After 1917, Vasnetsov continued to work on folk fairy-tale themes, creating the canvases “The Fight of Dobrynya Nikitich with the seven-headed Serpent Gorynych” (1918); "Koschei the Immortal" (1917-1926).

Slide 9

Slide description:

Apollinary Mikhailovich Vasnetsov (July 25 (August 6) 1856 - January 23, 1933) - Russian artist, master of historical painting, art critic, brother of Viktor Vasnetsov. Apollinary Vasnetsov was born on July 25 (August 6), 1856 in the village of Ryabovo near Vyatka (now Kirov region), in a large family of a priest who came from the ancient Vyatka family of Vasnetsov. At the age of thirteen, the boy was left an orphan. Possessing remarkable talent, Apollinaris did not receive a systematic artistic education. While studying at the Vyatka Theological School, he began taking lessons from the Polish artist Michal Elviro Andriolli, exiled to Vyatka:

10 slide

Slide description:

In 1872 he graduated from the Vyatka Theological School and, at the insistence of his older brother, Viktor Vasnetsov, moved to St. Petersburg, where he lived from 1872 to 1875. He studied painting with Viktor Vasnetsov, as well as with such masters as V. D. Polenov, I. E. Repin, M. M. Antakolsky, V. M. Maksimov. In 1875, Apollinaris abandoned the idea of ​​​​entering the Academy of Arts and passed the exam for the title of national teacher, after which he left to work in the village of Bystritsa, Oryol province. Soon, however, he became disillusioned with populist ideas. In 1878, Apollinary Vasnetsov left the village, went to Moscow, to his brother, and from then on he devoted himself entirely to art.

11 slide

Slide description:

Since 1882, Apollinary Vasnetsov annually spent the summer at his brother’s dacha in the village of Akhtyrka near the Abramtsevo estate of Savva Ivanovich Mamontov, and communicated a lot with members of the Abramtsevo circle. Since 1883, Apollinary Vasnetsov began showing his works at the exhibitions of the Association of Traveling Art Exhibitions. In 1885-1886, the artist traveled throughout the Russian Empire, visiting Ukraine and Crimea. In 1898 he traveled through France, Italy and Germany. Memorial plaque in Furmanny Lane, building 6, sculptor M. L. Petrova, opened on July 21, 1956. Grave of A.M. Vasnetsov at the Vvedenskoye Cemetery in Moscow In 1900, Vasnetsov became an academician of the St. Petersburg Academy of Arts. In 1903 he participated in the organization of the Union of Russian Artists.

12 slide