Alekseev a f. Artist Alekseev

Alekseev Fedor YakovlevichFedor Yakovlevich Alekseev is a wonderful painter, the founder of Russian landscape painting, in particular, the urban landscape.

The artist was born in 1753 (the exact date of his birth is not known) and was the son of a watchman at the Academy of Sciences. From 1766 to 1973 he studied at the Academy of Arts in a class called “painting of flowers and fruits,” and then moved to the landscape department. In 1773, having received a gold medal for program work, he was sent to Venice, where he spent three years studying painting for theatrical designs, although he did not like them.

Alekseev’s passion for the fantastic engravings of Piranesi was not approved by the authorities of the Art Academy, so upon returning home he received a dry, restrained reception. He was not offered any programs to obtain an academic title. On the contrary, he was simply forced to accept the position of theater decorator, in which he worked from 1779 to 1786. Alekseev managed to leave his unloved job thanks to his excellent copying of landscapes by J. Bernet, G. Robert and B. Belotto from the Hermitage collection. His copies, skillfully reproducing the picturesque atmosphere of the originals, received incredible success. Thanks to these works, the artist Fedor Yakovlevich Alekseev gained the opportunity to paint original landscapes.

View of the Moscow Kremlin from the Kamenny Bridge

In his landscapes, the artist creates a perfect, sublime and at the same time very vivid image of a majestic, large and incomparable city in its sophistication. Ideality in his works is closely intertwined with reality and is in complete harmony with it.

Cathedral Square of the Moscow Kremlin

In 1794, the paintings of Fyodor Yakovlevich Alekseev brought their creator the title of academician of painting.

A year later, the artist was sent to Crimea and Novorossiya in order to capture the places visited by Empress Catherine II in 1787.

The artist creates wonderful landscapes of Bakhchisaray, Kherson, Nikolaev.

In 1800, on the instructions of Emperor Paul I, Alekseev created a number of Moscow landscapes.

The artist became deeply interested in ancient Russian architecture and brought from Moscow, after staying there for more than a year, not only a series of paintings, but also many watercolor works with views of Moscow suburbs, monasteries, streets, and mainly various views of the Kremlin.

These works made a great impression on a number of influential people and representatives of the imperial house, who became Alekseev’s customers.

"The Boyar's Playground or the Bed Porch and the Church of the Savior Behind the Golden Lattice in the Moscow Kremlin"

A little later, the artist returns in his work to his beloved theme of St. Petersburg.

But the theme of his works has now changed - the artist became more interested in ordinary people: their world and life against the background of the luxury of palaces and the majestic Neva.

The main characters occupying the foreground of the paintings were the townspeople with their everyday worries.

The paintings now have more volume and clarity, and their coloring has become much warmer.

An artist who created a name for himself with a new genre in Russian art - the genre of the city landscape. The amazing talent and general style of his paintings are one of the best in world painting. The name of the amazing artist is Alekseev Fedor Yakovlevich.

Biography

Alekseev Fedor Yakovlevich was born in 1754 (the exact date of birth is not available in historical sources) in a poor family. In 1766, his father petitioned to enroll his son in the Academy of Arts, and his request was granted. Fyodor Alekseev begins his studies in the class of painting flowers and fruits, after which he is transferred to the landscape class, and in 1773 he successfully graduates from the Academy. For the best writing of a programmatic landscape, he is awarded a gold medal. The talented young man was sent to Venice to continue his studies to specialize in decorative painting. This is a special type of writing scenery for the theater. During his studies, Fyodor Alekseev, in addition to his main occupation, was enthusiastically studying Venetian artists depicting landscape, such as Canale, Guardi, and engravings by Piranesi, who at that time lived in Rome. But with his craving for new knowledge, the artist displeased the academic authorities.

The road to art

After finishing his specialization in Venice, artist Fyodor Alekseev returns to St. Petersburg and gets a job as a painter at a theater school. The approximate dates of this period of his life are 1779-1786. Due to his passion for landscapes, in addition to theatrical scenery, Fyodor Alekseev was greeted rather coolly in his homeland and was denied further training to obtain the title of academician. But the artist sets himself the goal of showing the Academy what he is capable of, and along with this work, the artist combines copying landscapes by Canaletto, Bellotto, Robert and Berne in the newly opened Hermitage.

Thanks to his successful work at the Hermitage, he left his service at the school. His creative reproduction of the originals so beautifully repeated their pictorial system that the works gained great success. Successful activities brought Fyodor Alekseev fame, the nickname “Russian Canaletto”, for which the Academy gives the artist the opportunity to independently paint his paintings. Of course, they were landscapes.

The originality of the works of the artist Fyodor Alekseev

Having proven his ability to draw independently, the artist painted a number of famous paintings with views of St. Petersburg. Some of the most significant: “View of the Peter and Paul Fortress and Palace Embankment” (1793) and “View of the Palace Embankment from the Peter and Paul Fortress” (1794).

Using the knowledge that he acquired in Venice, Fyodor Alekseev creates his own image of a solemn and at the same time living city. At the same time, in his paintings he preserves the laws of classicism that were important in the 18th century and combines the ideal and the real. For his work in 1794, the artist Fyodor Alekseev was given the title of Academician of Perspective Painting.

Creative path

After receiving the honorary title, Fyodor Alekseev receives the task of drawing the places where Empress Catherine II was in 1787. The artist recreates on his canvases the beauty of such southern cities as Nikolaev, Kherson, Bakhchisarai.

And in 1800, Emperor Paul I himself instructed Fyodor Alekseev to paint Moscow. During the time that the artist spent in this city (a little more than a year), he brought several paintings and a large number of watercolors, which depict views of Moscow streets, monasteries, and suburbs. But the most important thing is the unique images of the Kremlin. Among them, the most popular were “Red Square in Moscow” and “Boyar Square, or the Bed Porch and the Cathedral of Christ the Savior behind the Golden Lattice in the Moscow Kremlin.”

Moscow works are so distinguished by their accuracy and documentation that they attract new buyers of paintings to the artist. Among them are famous people and members of the imperial family.

The artist's fame as a landscape painter

Since the 1800s Fyodor Yakovlevich becomes the head of the perspective painting class at the Academy of Arts and again paints on his favorite topic - St. Petersburg. At the same time, the artist travels a lot around Russia and captures views of provincial cities.

More life appears in his paintings; it seems that now the images will come to life. They become like documentary historical photographs. More and more, the artist depicts people. They come to the foreground of paintings with palaces, embankments and streets. People with their daily activities, carts, workers. The details are painted even more clearly, heavier, the color scheme looks warmer, and the painting takes on a special richness. Works of that time include “View of the Kazan Cathedral in St. Petersburg”, “View of the English Embankment from Vasilyevsky Island” and others. In warm colors, with fine rendering of the smallest details.

The paintings of Fyodor Alekseev are distinguished by their special “warm” light and movement. The sky takes on a delicate azure hue, and the clouds take on the pinkishness of the setting sun.

The last years of the artist's life

No one is eternal, and over time, the fame of Fedor Yakovlevich Alekseev begins to fade, and the public forgets him. The famous landscape painter dies in 1824 in great poverty. He leaves behind a wife and children, and the Academy of Arts provides financial assistance for organizing the funeral and for the continued existence of the family.

Despite the sad end of his life, the artist Fedor Yakovlevich Alekseev is one of the most famous creators of the urban landscape genre. There are queues for his paintings at the Tretyakov Gallery, the State Hermitage, and the Russian Museum. His works are studied in educational institutions. He is remembered, and in the world of painting his name is highly valued, and the biography of Fyodor Alekseev is an example of the fact that you need to follow your calling, no matter what.

Biography of Fedor Yakovlevich Alekseev

Fyodor Yakovlevich Alekseev is the first master of urban landscape in the history of Russian painting.

His father served as a guard at the Academy of Sciences, which in the mid-18th century was a leading artistic center. The boy's father, Yakov Alekseev, sends his son to the Academy of Arts.

In the period from 1766 to 1773, Alekseev studied at the Academy of Arts.

In 1767 he was among the students of the class of ornamental sculpture, led by Louis Rolland, then in the “painting class” of G. Fandermint and A. Perezinotti.

In 1773, the artist received a small gold medal with a sword for a programmatic landscape. In honor of this event, he was sent to Venice to paint theatrical scenery.

In Italy, the artist studied with such masters as D. Moretti and P. Gaspari. But he soon abandoned all the teachers and independently turned to the urban landscape common in Venice.

He studies the famous landscape painters A. Canale, F. Guardi, and is interested in landscape and fantastic engravings by D. B. Piranesi. Upon returning to his homeland, he was not offered any program to obtain an academic title. He was sent to work as a decorator at the theater school, where he worked from 1779 to 1786.

While working at the school, he copied landscapes by A. Canale, B. Bellotto, G. Robert and J. Bernet from the Hermitage collection. Thanks to this, he quits his hated job. The copies were very successful and brought great success to the artist. They brought the artist the fame of the “Russian Canaletto” and the long-awaited opportunity to move on to painting original landscapes.

Among his works of the 1790s. especially famous are “View of the Peter and Paul Fortress and the Palace Embankment” and “View of the Palace Embankment from the Peter and Paul Fortress.” Alekseev created a sublime image of a majestic, beautiful city. The main attention in the paintings is given to the image of the water surface of the Neva, boats gliding along it and the high summer sky with floating clouds.

For the painting “View of the Palace Embankment from the Summer Garden to the Marble Palace” in 1794, the Academy of Arts awarded Alekseev the title of academician and he was sent to the south of Russia “to photograph views of the areas” that Catherine II visited in 1787.

The journey lasted 2 years, and the artist created many watercolors, from which he painted oil paintings in St. Petersburg: “View of the city of Nikolaev”, “View of the city of Bakhchisarai” and others. The best was “View of the city of Bakhchisaray”. This is how landscapes of southern cities appear - Nikolaev, Kherson, Bakhchisarai.

The paintings of the southern cycle have certain common features that allow one to judge the artist’s movement from perspective to the classicist organization of the canvas. The composition is organized clearly and logically.

And another characteristic feature of southern paintings is the appearance of staffage. All details are depicted very vividly, forming entertaining genre scenes. They serve as unique units of scale, allowing one to imagine the size of buildings, squares, and the height of trees.

Starting from these works, staffage became a mandatory part of all the artist’s works. He seems to “populate” the city with people and buildings. These are not just mirages, these are solid structures made of stone, inhabited by many people.

In 1800, at the request of Emperor Paul I, Alekseev painted views of Moscow. Alekseev painted his paintings based on detailed watercolor sketches from life. The artist enthusiastically studies ancient Russian architecture.

He has been living in Moscow for more than a year. Here he created a number of paintings and many watercolors with views of Moscow streets, monasteries, suburbs, but mainly various images of the Kremlin.

In 1802, Alekseev became the head of the class of perspective painting at the Academy of Arts. Among his students were Sylvester F. Shchedrin and M.N. Vorobyov.

He again returns to his favorite topic of St. Petersburg. Now his passion for the harmony of the holistic space of the artist’s paintings has been replaced by a great interest in people, their lives against the backdrop of the luxurious palaces of the Neva. People with their daily activities now occupy the entire foreground of the paintings. These are “View of the English Embankment from Vasilievsky Island”, “View of the Admiralty and Palace Embankment from the First Cadet Corps”, “View of the Kazan Cathedral in St. Petersburg”, “View of the Spit of Vasilievsky Island from the Peter and Paul Fortress”.

Gradually the public begins to forget the aging artist. He was a magnificent artist, who through hard work proved his right to be a landscape painter, in great poverty, leaving a large family.

He died in poverty in St. Petersburg on November 11, 1824, leaving a large family without funds. The Academy gave money for his funeral and benefits for his widow and small children.

Alekseev is the first master of urban landscape in Russian painting. In lyrical paintings executed with great subtlety, he captured the austere appearance of St. Petersburg, the picturesque beauty of Moscow, and the poetry of everyday city life.

He was attracted by the landscape, in which architecture played a huge role. He traveled a lot and already at the beginning of the 19th century he painted views of the provincial cities of Russia and Moscow.

The master’s most famous works: “Cathedral Square in the Moscow Kremlin” (1780s), “View of the Palace Embankment from the Peter and Paul Fortress” (1794), “View of the Resurrection and Nikolsky Gates from Tverskaya Street in Moscow” (1811).

Fyodor Yakovlevich Alekseev (between 1753-1755, St. Petersburg - November 11 (23), 1824, St. Petersburg) - Russian painter, contemporaries called him “Russian Canaletto”. The greatest master of Russian veduta.

BIOGRAPHY OF THE ARTIST

Son of the watchman of the Academy of Sciences. In 1764, at the request of his father, he was accepted to study at the Imperial Academy of Arts; before that he studied at the garrison school.

In 1767, among the students of the class of ornamental sculpture, led by Louis Rolland, then in the “painting class” of Heinrich Fondermint and A. Perezinotti.

In 1773-1777 he improved as a theater artist in Venice, where he also painted landscapes (“Schiavoni Embankment in Venice”, 1775, Art Museum of the BSSR, Minsk).

In the 1790s. made landscapes of St. Petersburg (“View of the Palace Embankment from the Peter and Paul Fortress,” 1794, Tretyakov Gallery), for which in 1794 he received the title of academician.

In 1802, Alekseev became the head of the class of perspective painting at the Academy of Arts. Among his students were Sylvester F. Shchedrin and M.N. Vorobyov.

To “take views” he traveled to Kherson, Nikolaev, Bakhchisarai (1795), Poltava, Voronezh, Orel and then painted paintings using watercolor sketches from life (“Square in Nikolaev”, Russian Museum, St. Petersburg).

The image of a fabulous, holy Russian city amazed people. Moscow works attracted a huge number of customers to Alekseev, among whom were the most distinguished nobles and members of the imperial family. In 1800, at the request of Emperor Paul I, Alekseev painted views of Moscow. Alekseev painted his paintings based on detailed watercolor sketches from life. The artist enthusiastically studies ancient Russian architecture.

While in Moscow in 1800-1802, he painted two paintings from life (“Red Square with St. Basil’s Cathedral,” Museum of the Institute of Russian Literature of the USSR Academy of Sciences, Leningrad, and “View of a Military Hospital,” not preserved) and a number of watercolors.

In the 1810s. created a new series of St. Petersburg landscapes (“View of the Promenade des Anglais,” Russian Museum).

Gradually the public begins to forget the aging artist. He died in poverty in St. Petersburg on November 11, 1824, leaving a large family without funds.

CREATION

Alekseev is the first master of urban landscape in Russian painting.

In lyrical paintings executed with great subtlety, he captured the austere appearance of St. Petersburg, the picturesque beauty of Moscow, and the poetry of everyday city life. He was attracted by the landscape, in which architecture played a huge role. He traveled a lot and already at the beginning of the 19th century he painted views of provincial towns in Russia.

Alekseev’s work was an important stage in the formation of the traditions of the national school of picturesque landscape. His works, attractive to his contemporaries and descendants with their sublimity and artistic perfection of images, preserved the appearance of Russian cities at the turn of the 18th – 19th centuries, becoming the most valuable historical documents of the era.

In the paintings “View of the Exchange and the Admiralty from the Peter and Paul Fortress” (1810, State Tretyakov Gallery), “View of the Kazan Cathedral in St. Petersburg”, “View of the Admiralty and Palace Embankment from the First Cadet Corps” (1810s, State Russian Museum) the main The heroes were the new architectural structures of the capital, erected at the beginning of the 19th century. The view of the Exchange, crowned by the spit of Vasilievsky Island, is distinguished by the complexity and dynamism of the construction.

The artist chose a point of view that his contemporaries called “happy.” It made it possible to capture in a single space the magnificent buildings that personified the power and prosperity of the young city.

The architectural "avenue" has become an image of an urban environment full of noise and movement. An important role in the St. Petersburg views of the early 19th century is played by scenes from the life of city inhabitants, filling the images with charm and human warmth.

In the paintings of the southern cycle (“View of the city of Nikolaev”, “View of the city of Bakhchisaray”, etc.) there are certain common features that allow us to judge the artist’s movement from perspective to the classicist organization of the canvas. The composition is organized clearly and logically. And another characteristic feature of southern paintings is the appearance of staffage. All details are depicted very vividly, forming entertaining genre scenes. They serve as unique units of scale, allowing one to imagine the size of buildings, squares, and the height of trees.

Alekseev Fedor Yakovlevich (1753-1824). Russian artist Alekseev Fyodor Yakovlevich Alekseev Fyodor Yakovlevich was the first Russian artist who became known as a master of painting, talentedly and realistically depicting the city landscape. He was born and raised in a poor family of a watchman at the Academy of Sciences. In 1766, the father applied for admission of his son to the Academy of Arts, after which in 1773 Fyodor received a small gold medal for a masterfully executed program landscape. For his demonstrated success, he was sent to improve his artistic skills in Venice, where he studied with such famous masters as D. Moretti and P. Gaspari, and later became interested in the city landscape of Venice. This occupation was not approved by the Academy of Arts, as a result of which Alekseev, upon returning to his homeland, did not receive any program for nomination for an academic title, but was sent as a set designer to a theater school.

While doing this unloved work, at the same time he creates very talented copies of paintings by famous urban landscape painters A. Canale, B. Bellotto, G. Robert and J. Bernet, which brought him great fame. This gave Fyodor Alekseev the opportunity to finally leave his job as a decorator and work directly on the city landscape. For successfully created paintings with landscapes of St. Petersburg, Alekseev was finally awarded the title of academician by the Academy of Arts.

The best works of Fedor Alekseev

View of the Mikhailovsky Castle in St. Petersburg from the Fontanka

Mikhailovsky Castle St. Petersburg

After that, he was sent to the south of Russia, where he stayed for two years and wrote such famous works as “View of the city of Nikolaev”, “View of the city of Bakhchisarai” and others.

View of the city of Nikolaev

Later, on behalf of Emperor Paul I, Fyodor Alekseev went to Moscow and created a number of well-known works there, after which he returned to St. Petersburg and continued his work there until the end of his days.

Boyar Square in the Moscow Kremlin

View of St. Basil's Cathedral from Moskvoretskaya Street

Illumination on Cathedral Square in honor of the coronation of Emperor Alexander I.

Red Square in Moscow

A distinctive feature of the artist Fyodor Alekseev is that not many works depicting landscapes of Moscow and St. Petersburg can be found created in the 18th century.

Panoramic view of Tsaritsyno

Square in front of the Assumption Cathedral in the Moscow Kremlin

Cathedral Square in the Moscow Kremlin

Trinity-Sergius Lavra

In 1802, Fyodor Yakovlevich Alekseev began teaching at the Academy of Arts. At this time, his students were S.F. Shchedrin and M.N. Vorobyov, who later became famous artists.

Unfortunately, Fedor Yakovlevich Alekseev died as a poor man and was buried at the Smolensk Orthodox Cemetery in St. Petersburg. True, the Academy of Arts allocated some funds for the funeral of a talented painter and to help a large family.