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== History == |
== History == |
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=== Past events === |
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In 1863-1871 Vasily Polenov studied at the [[Imperial Academy of Arts|Imperial Academy of Arts,]] where he was first (until 1866) a [[Вольнослушатель|free student]] and then a regular student.<ref name=":2">Государственная Третьяковская галерея — каталог собрания / Я. В. Брук, Л. И. Иовлева. — <abbr>М.</abbr>: Красная площадь, 2006. — V. 4: Живопись второй половины XIX века, book 2, Н—Я. — P. 88.</ref><ref>''С. М. Грачёва.'' [https://old.bigenc.ru/fine_art/text/3152519 Поленов Василий Дмитриевич] (HTML). [[Great Russian Encyclopedia|Большая российская энциклопедия]] — bigenc.ru.</ref><ref>''Петинова Е. Ф.'' Русские художники XVIII — начала XX века. — <abbr>СПб.</abbr>: Аврора, 2001. — P. 179.</ref> His mentors in the [[history painting]] class were [[Alexey Tarasovich Markov|Alexei Markov]], [[Pyotr Basin|Pyoter Basin]], [[Pyotr Shamshin|Pyoter Shamshin]], [[Бейдеман, Александр Егорович|Alexander Beydeman]] and [[Carl Wenig]].<ref name=":2" /> In 1871, Polenov was awarded a large gold medal by the Academy of Arts for his painting "The Resurrection of Jairus' Daughter" (now in the [[Музей Российской академии художеств|NIM RAH]]). Along with this award he received the title of the [[first class artist]], as well as the right to a pensioner's trip abroad.<ref name=":2" /> In 1872-1873 Polenov visited [[Germany]] and [[Italy]], and in 1873-1876 he lived and worked in [[Paris]].<ref name=":2" /> In a letter to his parents, written shortly before the end of his trip abroad, the artist reported: "Here I tried all kinds of painting: historical, [[genre painting]], landscape, [[marine art]], head portrait, picture, animals, [[still life]], and so on, and came to the conclusion that my talent is closest to the domestic landscape genre, which I will take up".<ref>''Сахарова Е. В.'' Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — <abbr>М.</abbr>: Искусство, 1964. — P. 207.</ref><ref>''Пастон Э. В.'' Василий Поленов. «Московский дворик». — <abbr>М.</abbr>: Государственная Третьяковская галерея, 2017. — P. 16 — (История одного шедевра).</ref> |
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[[File:Polenov by Repin.jpg|left|thumb|[[Ilya Repin|I. Е. Repin]]. Portrait of V. D. Polenov (1877, [[Tretyakov Gallery]])]] |
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In the summer of 1876, Polenov returned to [[Saint Petersburg|St. Petersburg]]. In the same year, "the Academy of Arts awarded him the title of [[Imperial Academy of Arts|Academician]]<ref name=":2" /> for his excellent knowledge of painting, as evidenced by the works presented. In the fall of 1876, having joined the Russian Volunteer Army, which took part in [[First Serbian–Ottoman War|the First Serbian–Ottoman War]], Polenov went to the area of military operations, where he created a number of drawings based on his battle impressions.<ref>''Петинова Е. Ф.'' Русские художники XVIII — начала XX века. — <abbr>СПб.</abbr>: Аврора, 2001. — P. 179-180.</ref><ref name=":2" /> At the end of the year, the artist returned to St. Petersburg, but with the desire to move to Moscow as soon as possible. In a letter to Elizaveta Mamontova (wife of entrepreneur and art patron [[Savva Mamontov|Savva Mamontov)]] dated December 24, 1876, Polenov wrote "Strongly aspire to you in Moscow, probably, in it will be easier to work than in St. Petersburg, where not a minute can not have free to concentrate ...".<ref>''Сахарова Е. В.'' Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — <abbr>М.</abbr>: Искусство, 1964. — P. 228.</ref> |
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Polenov also discussed his move with the art critic [[Vladimir Stasov]], who wrote to him in a letter dated 3 January 1877: "You are going to settle down in Moscow <...>, and in the meantime you do not need Moscow for anything, nor anything else in Russia. You have a mentality that is not Russian, not only not historically, but not even [[Ethnography|ethnographically]] not Russian. It would be better for you to live permanently in Paris or Germany. Unless, of course, some unexpected changes suddenly happen to you, opening some previously unknown boxes and pouring out unknown treasures and news. Of course, I am not a prophet!"<ref>''Сахарова Е. В.'' Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — <abbr>М.</abbr>: Искусство, 1964. — P. 230-231.</ref><ref>''Пастон Э. В.'' [https://www.tg-m.ru/img/mag/2007/1/022-033.pdf «Поэтическая правда» Москвы] // [[Tretyakov Gallery|Третьяковская галерея]]. — 2007. — № 1. — P. 23.</ref><ref>''Пастон Э. В.'' Василий Поленов. «Московский дворик». — <abbr>М.</abbr>: Государственная Третьяковская галерея, 2017. — P. 18. — (История одного шедевра).</ref> Polenov, upset by Stasov's critical remarks, shared his doubts with the artist [[Ilya Repin]]. In a letter from [[Chuhuiv|Khuguev]] dated January 20, 1877, Repin wrote to Polenov: "No, dear brother, you will see for yourself how our Russian reality, which has never been depicted before, will shine before you. How you will be drawn in, to the marrow of your bones, to its poetic truth, as you begin to comprehend it, yes, with all the heat of love to translate it on your canvas, and you will be surprised at what will turn out before your eyes and the first to enjoy his work, and then all will not yawn in front of it".<ref>''Сахарова Е. В.'' Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — <abbr>М.</abbr>: Искусство, 1964. — P. 237.</ref><ref>''Гомберг-Вержбинская Э. П.'' Передвижники. — <abbr>Л.</abbr>: Искусство, 1970. — P. 170-171.</ref><ref>''Пастон Э. В.'' Василий Поленов. «Московский дворик». — <abbr>М.</abbr>: Государственная Третьяковская галерея, 2017. — P. 20. — (История одного шедевра)</ref> |
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=== Move to Moscow and work on the painting === |
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[[File:Wassilij Dimitriewitsch Polenow 002 corr.jpg|thumb|Moscow countyard (the first variant, 1877, [[Tretyakov Gallery]])]] |
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== References == |
== References == |
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Revision as of 19:10, 18 March 2024
Moscow courtyard (Polenov) | |
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Artist | Vasily Polenov |
Year | 1878 |
Type | Oil on canvas |
Dimensions | 80,1 cm × 64,5 cm (315 in × 254 in) |
Location | Tretyakov Gallery, Moscow |
Moscow Courtyard is a landscape painting by the Russian artist Vasily Polenov (1844-1927), completed in 1878. It belongs to the State Tretyakov Gallery (inventory 2670). Its dimensions are 64.5 × 80.1 cm.[1][2] Together with two other works by Polenov from the late 1870s: the paintings "Grandmother's Garden" and "Overgrown Pond", the canvas "Moscow Courtyard" has been attributed to "a kind of lyrical and philosophical trilogy of the artist".[3][4]
The painting depicts the courtyard of a house at the intersection of Durnovsky and Trubnikovsky Streets, in the wing of which Polenov rented an apartment in 1877-1878. Behind the courtyard and the adjacent buildings is the Church of the Transfiguration on the Sand, and in the right part of the canvas are the outlines of the Church of St. Nicholas the Wonderworker in Plotniki.[1][5] The work organically combines landscape and genre motifs.[6]
The painting "Moscow Courtyard" was presented at the Moscow part of the 6th Exhibition of the Society for Traveling Art Exhibitions ("Peredvizhniki"),[7] which was held in May 1878.[1][8] It became Polenov's first work presented at the traveling exhibitions.[9] Pavel Tretyakov bought that canvas directly from the exhibition.[1][10]
According to art historian Alexei Fedorov-Davydov, the painting "Moscow Courtyard" is "full of simple and clear heartfelt poetry"[11] and this work by Polenov "was a new word in Russian landscape painting and played a great role in it".[12] Art historian Tamara Yurova noted that this canvas was among the "pearls of the Russian school of painting" and became "a milestone in the history of Russian landscape painting".[10] Art historian Vitaly Manin called "Moscow Courtyard" a "masterpiece of landscape art" and wrote that "one such painting is enough to go down in history".[13]
History
Past events
In 1863-1871 Vasily Polenov studied at the Imperial Academy of Arts, where he was first (until 1866) a free student and then a regular student.[14][15][16] His mentors in the history painting class were Alexei Markov, Pyoter Basin, Pyoter Shamshin, Alexander Beydeman and Carl Wenig.[14] In 1871, Polenov was awarded a large gold medal by the Academy of Arts for his painting "The Resurrection of Jairus' Daughter" (now in the NIM RAH). Along with this award he received the title of the first class artist, as well as the right to a pensioner's trip abroad.[14] In 1872-1873 Polenov visited Germany and Italy, and in 1873-1876 he lived and worked in Paris.[14] In a letter to his parents, written shortly before the end of his trip abroad, the artist reported: "Here I tried all kinds of painting: historical, genre painting, landscape, marine art, head portrait, picture, animals, still life, and so on, and came to the conclusion that my talent is closest to the domestic landscape genre, which I will take up".[17][18]
In the summer of 1876, Polenov returned to St. Petersburg. In the same year, "the Academy of Arts awarded him the title of Academician[14] for his excellent knowledge of painting, as evidenced by the works presented. In the fall of 1876, having joined the Russian Volunteer Army, which took part in the First Serbian–Ottoman War, Polenov went to the area of military operations, where he created a number of drawings based on his battle impressions.[19][14] At the end of the year, the artist returned to St. Petersburg, but with the desire to move to Moscow as soon as possible. In a letter to Elizaveta Mamontova (wife of entrepreneur and art patron Savva Mamontov) dated December 24, 1876, Polenov wrote "Strongly aspire to you in Moscow, probably, in it will be easier to work than in St. Petersburg, where not a minute can not have free to concentrate ...".[20]
Polenov also discussed his move with the art critic Vladimir Stasov, who wrote to him in a letter dated 3 January 1877: "You are going to settle down in Moscow <...>, and in the meantime you do not need Moscow for anything, nor anything else in Russia. You have a mentality that is not Russian, not only not historically, but not even ethnographically not Russian. It would be better for you to live permanently in Paris or Germany. Unless, of course, some unexpected changes suddenly happen to you, opening some previously unknown boxes and pouring out unknown treasures and news. Of course, I am not a prophet!"[21][22][23] Polenov, upset by Stasov's critical remarks, shared his doubts with the artist Ilya Repin. In a letter from Khuguev dated January 20, 1877, Repin wrote to Polenov: "No, dear brother, you will see for yourself how our Russian reality, which has never been depicted before, will shine before you. How you will be drawn in, to the marrow of your bones, to its poetic truth, as you begin to comprehend it, yes, with all the heat of love to translate it on your canvas, and you will be surprised at what will turn out before your eyes and the first to enjoy his work, and then all will not yawn in front of it".[24][25][26]
Move to Moscow and work on the painting
References
- ^ a b c d Государственная Третьяковская галерея — каталог собрания / Я. В. Брук, Л. И. Иовлева. — М.: Красная площадь, 2006. — V. 4: Живопись второй половины XIX века, книга 2, Н—Я. — 560 p.
- ^ Поленов Василий Дмитриевич — Московский дворик (HTML). Государственная Третьяковская галерея — www.tretyakovgallery.ru.
- ^ Пастон Э. В. Василий Поленов. «Московский дворик». — М.: Государственная Третьяковская галерея, 2017. — p. 43.
- ^ Пастон Э. В. Василий Поленов. От Золотого к Серебряному веку // Третьяковская галерея. — 2019. — № 3. — P. 17.
- ^ Пастон Э. В. Василий Поленов. «Московский дворик». — М.: Государственная Третьяковская галерея, 2017. — P. 28 — (История одного шедевра).
- ^ Мальцева Ф. С. Мастера русского пейзажа. Вторая половина XIX века. Часть 2. — М.: Искусство, 2001. — P. 69.
- ^ Товарищество передвижных художественных выставок. Письма, документы. 1869—1899 / В. В. Андреева, М. В. Астафьева, С. Н. Гольдштейн, Н. Л. Приймак. — М.: Искусство, 1987. — P. 370.
- ^ Сахарова Е. В. Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — М.: Искусство, 1964. — P. 736.
- ^ Раздобреева И. В. Картина В. Д. Поленова «Московский дворик» // Государственная Третьяковская галерея. Материалы и исследования. — М.: Советский художник, 1956. — V. I. — P. 204
- ^ a b Юрова Т. В. Василий Дмитриевич Поленов. — М.: Искусство, 1961. — P. 44.
- ^ Фёдоров-Давыдов А. А. Русский пейзаж XVIII — начала XX века. — М.: Советский художник, 1986. — P. 168.
- ^ Фёдоров-Давыдов А. А. Русский пейзаж XVIII — начала XX века. — М.: Советский художник, 1986. — P. 196.
- ^ Манин В. С. Русская пейзажная живопись. Конец XVIII — XIX век. — СПб.: Аврора, 2012. — P. 247.
- ^ a b c d e f Государственная Третьяковская галерея — каталог собрания / Я. В. Брук, Л. И. Иовлева. — М.: Красная площадь, 2006. — V. 4: Живопись второй половины XIX века, book 2, Н—Я. — P. 88.
- ^ С. М. Грачёва. Поленов Василий Дмитриевич (HTML). Большая российская энциклопедия — bigenc.ru.
- ^ Петинова Е. Ф. Русские художники XVIII — начала XX века. — СПб.: Аврора, 2001. — P. 179.
- ^ Сахарова Е. В. Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — М.: Искусство, 1964. — P. 207.
- ^ Пастон Э. В. Василий Поленов. «Московский дворик». — М.: Государственная Третьяковская галерея, 2017. — P. 16 — (История одного шедевра).
- ^ Петинова Е. Ф. Русские художники XVIII — начала XX века. — СПб.: Аврора, 2001. — P. 179-180.
- ^ Сахарова Е. В. Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — М.: Искусство, 1964. — P. 228.
- ^ Сахарова Е. В. Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — М.: Искусство, 1964. — P. 230-231.
- ^ Пастон Э. В. «Поэтическая правда» Москвы // Третьяковская галерея. — 2007. — № 1. — P. 23.
- ^ Пастон Э. В. Василий Поленов. «Московский дворик». — М.: Государственная Третьяковская галерея, 2017. — P. 18. — (История одного шедевра).
- ^ Сахарова Е. В. Василий Дмитриевич Поленов, Елена Дмитриевна Поленова. Хроника семьи художников. — М.: Искусство, 1964. — P. 237.
- ^ Гомберг-Вержбинская Э. П. Передвижники. — Л.: Искусство, 1970. — P. 170-171.
- ^ Пастон Э. В. Василий Поленов. «Московский дворик». — М.: Государственная Третьяковская галерея, 2017. — P. 20. — (История одного шедевра)