Illustrations for the works of N. Nekrasov. “Railroad” N.A. Nekrasov

April 14, 2014 - Author Svetlana

Albert Einstein said: “The life of an individual is meaningful only to the extent that it helps to make the lives of other people more beautiful and noble.”

Goals: study in detail the poem “Railway” by N.A. Nekrasov; works of painting dedicated to the problems raised in the poem; create your own illustrations. Tasks:

Show Nekrasov’s attitude towards working people and their oppressors; help listeners imagine the paintings and the people depicted in them; talk about the painting by K.A. Savitsky, consider the illustration by I.S. Glazunov, evaluate my illustrations for Nekrasov’s poem

Develop aesthetic feelings and emotions, creativity;

To foster patriotism and love for fiction, reading, and painting.

Planned results:

Personal: my awareness of the project’s objectives and the desire to fulfill them;

Meta-subject: the ability to organize one’s activities, determine its goals and objectives, the ability to independently search for information, the ability to interact with people, work in a team, express one’s opinion, possess practical skills;

Subject: development of the ability to see and write images in fiction, in painting.

Development of universal learning activities:

• cognitive: the ability to analyze a literary text in the unity of form and content, highlight the author’s position, and read expressively by heart;
• regulatory: the ability to manage one’s activities (setting and formulating goals, planning the sequence of activities); control and evaluate the achieved results of one’s own and others’ activities;
• personal: realize the need to study this material and its further application;
• communicative: skills to communicate and interact in pairs, extract information from various sources; master various types of speech and artistic activities.

Plan.

1. Brief biography of N.A. Nekrasov.

2. The history of the creation of the poem “Railroad”. Artistic analysis of the text of the work.

3.Illustrations and paintings by outstanding Russian artists to the poem by N.A. Nekrasov.

4.My illustrations for the poem.

5.Commonwealth of the Arts (conclusions).

6. List of references.

7. Application.

Introduction. Why did I choose this topic?

The school curriculum includes studying the work of Nikolai Alekseevich Nekrasov “The Railway”. When we read this poem in class, listened to the teacher, to each other, I became interested in this work. In the second lesson, we watched a presentation about the history of the construction of the Nikolaev railway and looked at a painting by K.A. Savitsky, a reproduction of which is in the textbook. I became even more interested in this work, and I learned it by heart in its entirety - all four parts. I feel terribly sorry for the builders - the heroes of N.A. Nekrasov’s poem. I traveled along this railway from Moscow to St. Petersburg with my parents this summer, looked out the compartment window and rejoiced at the beauty of our nature. And so, having felt the entire content of the poem and passed it through myself, I wanted to write my own illustrations. I will give two of them to my literature teacher, Svetlana Anatolyevna Khmelevskaya, as a keepsake, and the others to my parents.

I dedicated the lyre to my people.

N.A.Nekrasov

1. Brief biography of N.A. Nekrasov Nekrasov Nikolai Alekseevich is a great Russian poet, writer, publicist, recognized classic of world literature. Born on November 28 (October 10), 1821 in the family of a small nobleman in the town of Nemirov, Podolsk province. In addition to Nikolai Nekrasov, there were 13 more children in the family. Nekrasov’s father was a despotic man, which left a mark on the character and further work of the poet. Nikolai Nekrasov’s first teacher was his mother, an educated and well-mannered woman. She instilled in the poet a love of literature and the Russian language. In the period from 1832 to 1837, N.A. Nekrasov studied at the Yaroslavl gymnasium. Studying was difficult for Nekrasov, he often skipped classes. Then he began to write poetry. In 1838, the father, who always dreamed of a military career for his son, sent Nikolai Nekrasov to St. Petersburg to be assigned to the regiment. However, N.A. Nekrasov decided to enter the university. The poet failed to pass the entrance exams, and for the next 2 years he was a volunteer student at the Faculty of Philology. This contradicted the will of his father, so Nekrasov was left without any material support from him. The disasters that Nikolai Alekseevich Nekrasov faced in those years were reflected in his poems and the unfinished novel “The Life and Adventures of Tikhon Trostnikov.” Little by little, the poet’s life improved, and he decided to release his first collection of poems, “Dreams and Sounds.” In 1841, N.A. Nekrasov began working at Otechestvennye zapiski. In 1843, Nekrasov met Belinsky, which led to the appearance of realistic poems, the first of which “On the Road” (1845), and the publication of two almanacs: “Physiology of St. Petersburg” (1845) and “Petersburg Collection” (1846). In the period from 1847 to 1866, Nikolai Alekseevich Nekrasov was the publisher and editor of the Sovremennik magazine, which published the best revolutionary democratic works of the time. During this period, Nekrasov wrote lyrical poems dedicated to his common-law wife Panaeva, poems and cycles of poems about the urban poor (“On the Street”, “About the Weather”), about the fate of the people (“Uncompressed Strip”, “Railway”, etc.) , about peasant life (“Peasant Children”, “The Forgotten Village”, “Orina, the Soldier’s Mother”, “Frost, Red Nose”, etc.). In the 1850-60s, during the peasant reform, the poet created “The Poet and the Citizen,” “Song to Eremushka,” “Reflections at the Front Entrance,” and the poem “Peddlers.” In 1862, after the arrest of the leaders of revolutionary democracy, N.A. Nekrasov visited Greshnev. This is how the lyrical poem “A Knight for an Hour” (1862) appeared. In 1866, Sovremennik was closed. Nekrasov acquired the right to publish the journal Otechestvennye zapiski, with which the last years of his life were associated. During these years, the poet wrote the poem “Who Lives Well in Rus'” (1866-76), poems about the Decembrists and their wives (“Grandfather” (1870); “Russian Women” (1871-72), the satirical poem “Contemporaries "(1875). In 1875, Nekrasov N.A. became seriously ill. Doctors discovered he had intestinal cancer, and complex operations did not give the desired result. The last years of the poet's life were covered with elegiac motifs associated with the loss of friends, awareness of loneliness, and serious illness During this period the following works appeared: “Three Elegies” (1873), “Morning”, “Despondency”, “Elegy” (1874), “Prophet” (1874), “To the Sowers” ​​(1876).In 1877 The cycle of poems “Last Songs” was created in 2009. Nikolai Alekseevich Nekrasov died in St. Petersburg on December 27, 1877 (January 8, 1878). The poet’s body was buried in St. Petersburg at the Novodevichy Cemetery.

2. The history of the creation of the poem “Railroad”. Artistic analysis of the text of the work. The work is based on facts related to construction in 1842-1852. Nikolaevskaya railway, connecting Moscow and St. Petersburg. When creating the poem, Nekrasov relied on materials from magazine and newspaper publications devoted to the plight of railway builders in Russia (for example, N. A. Dobrolyubov wrote about this in the article “The Experience of Weaning People from Food,” 1860 and V. A. Sleptsov in cycle of essays “Vladimirka and Klyazma”, 1861), as well as on the testimonies of people who were directly involved in the construction of the Nikolaev railway. One of them was a close friend of the poet, engineer V.A. Panaev, who said: “Diggers were mainly hired in the Vitebsk and Vilna provinces from Lithuanians. They were the most unfortunate people in the entire Russian land, who looked less like people than like working cattle, from whom they demanded superhuman strength in their work without any, one might say, remuneration.” “The Railway” presents a wide canvas of folk life. But this does not limit the content of the work. It reflected the poet’s thoughts about the fate of the people, their past, present and future. This largely determined the complex figurative and artistic structure of the poem, in which the signs of many poetic genres already used in Nekrasov’s poetry merged in organic unity: landscape sketches, folk song, lamentation, fairy tale, accidentally overheard road conversation, satire. The sound tonality of the poem is also varied. In the voice of the lyrical hero, there are either enthusiastic notes when contemplating the delightful pictures of a moonlit night flashing outside the windows of the carriage, then mournful intonations at the sight of the plight of construction workers, then cheerful confidence in the indestructible forces of the people, then bitter irony when describing the “pleasant picture” that crowns completion of the railway construction. “The Railway” is a largely polemical work. The author seeks to refute the general’s false assertion that the road was built by Count Kleinmichel, and convincingly proved that the true creator of it and the creator of everything beautiful created by humanity is the people. And the builders themselves understand this and are proud of the fruits of their labor. This understanding brings the author and the peasant builders together, who do not curse what they created, although, it seems, they could - after all, “all the bones on the sides are Russian.” They are not at all indifferent to what happens after them. “On this moonlit night / We love to see our work,” they sing. And quite like a peasant, the narrator echoes the builders. The concepts of “labor” and “railroad” in the poem are filled with different contents: they are the embodiment of creative national labor, and a symbol of hard, hard labor, and the basis for building a future happy life, which once again speaks of the closeness of views of the author-narrator and the people. As in his other works, Nekrasov in “The Railway” sings a hymn to the heroism of the people, who bore on their shoulders the entire burden of incredible labor, and believes that people will ultimately be able to pave the way to happiness and, at the same time, cannot help but see their slavish longsuffering. Nekrasov had no doubt about which of these two components - heroism or resigned submission - would win among the people. Only, in his opinion, the people will not soon be able to pave the “broad, clear” road to a new life. Hence his words, permeated with bitterness and sadness, addressed to Vanya: “The only pity is that neither I nor you will have to live in this beautiful time.” The people are too dark and downtrodden and very soon they will be able to awaken from their stupor and declare their rights to a dignified existence, as evidenced by the final part of the poem. And yet, “The Railway” is an optimistic work, since it called for a transformation of life and was addressed not only to a random fellow traveler, Vanya, but to the entire young generation of the 1860s, which had just experienced persecution and persecution. Nekrasov urged young people not to lose faith in the people, in the final victory of the ideals of goodness and justice, which, although not soon, must certainly come. 2.1. . Characteristics of a work of lyrical genre (type of lyrics, artistic method, genre).

We can classify the poem as civil poetry. Its genre and compositional structure is complex. It is constructed in the form of a conversation between passengers, whose conditional companion is the author himself. The main theme is thoughts about the difficult, tragic fate of the Russian people. Some researchers call “The Railway” a poem that synthesizes elements of various genre forms: drama, satire, songs and ballads. 2.2. Analysis of the content of the work (analysis of the plot, characteristics of the lyrical hero, motives and tonality).

“The Railway” opens with an epigraph – a conversation between Vanya and his father about who built the railway along which they are traveling. To the boy’s question, the general answers: “Count Kleinmichel.” Then the author comes into action, who initially acts as a passenger-observer. And in the first part we see pictures of Russia, a beautiful autumn landscape:

The air invigorates tired forces;

It lies like melting sugar;
Near the forest, like in a soft bed,
You can get a good night's sleep - peace and space! -

Yellow and fresh, they lie like a carpet.

This landscape was created in line with the Pushkin tradition:

October has already arrived - the grove is already shaking off
The last leaves from their naked branches;
The autumn chill has blown in - the road is freezing.
The stream still runs babbling behind the mill,
But the pond was already frozen; my neighbor is in a hurry
To the departing fields with my desire...

These sketches perform the function of exposition in the plot of the work. Nekrasov’s lyrical hero admires the beauty of the modest Russian nature, where everything is so good: “frosty nights”, and “clear, quiet days”, and “moss swamps”, and “stumps”. And as if in passing he remarks: “There is no ugliness in nature!” This prepares the antitheses on which the entire poem is built. Thus, the author contrasts the beautiful nature, where everything is reasonable and harmonious, with the outrages that are happening in human society.

And we have this opposition already in the second part, in the speech of the lyrical hero addressed to Vanya:

This work, Vanya, was terribly enormous -
Not enough for one!
There is a king in the world: this king is merciless,
Hunger is its name.

Opposing the general, he reveals to the boy the truth about the construction of the railway. Here we see the beginning and development of the action. The lyrical hero says that many workers were doomed to death during this construction. Next we see a fantastic picture:

Chu! menacing exclamations were heard!
Stomping and gnashing of teeth;
A shadow ran across the frosty glass...
What's there? Crowd of the dead!

As noted by T.P. Buslakov, “the reminiscent source of this picture is the dance scene of “quiet shadows” in the ballad of V.A. Zhukovsky “Lyudmila” (1808):

“Chu! a leaf shook in the forest.
Chu! a whistle was heard in the wilderness.

They hear the rustling of quiet shadows:
At the hour of midnight visions,
There are clouds in the house, in a crowd,
Leaving the ashes of the grave,
With the late month sunrise
A light, bright round dance
They are entwined in an aerial chain...

In terms of meaning, two close… episodes are polemical. Nekrasov’s artistic goal becomes the desire not only to present evidence, unlike Zhukovsky, of the “terrifying” truth, but to awaken the reader’s conscience.. Next, Nekrasov’s image of the people is concretized. From the bitter song of the dead we learn about their unfortunate fate:

With an ever-bent back,

We, God's warriors, have endured everything,
Peaceful children of labor!

...Russian hair,
You see, he’s standing exhausted with fever,
Tall, sick Belarusian:
Bloodless lips, drooping eyelids,
Ulcers on skinny arms

The legs are swollen; tangles in hair;
I'm digging into my chest, which I diligently put on the spade
I worked hard all day every day...

Man earned his bread with difficulty!

Here the lyrical hero indicates his position. In his appeal addressed to Vanya, he reveals his attitude towards the people. Great respect for the workers, “brothers”, for their feat is heard in the following lines:

This noble habit of work
It would be a good idea for us to share with you...
Bless the work of the people
And learn to respect a man.

And the second part ends on an optimistic note: the lyrical hero believes in the strength of the Russian people, in their special destiny, in a bright future:

Don’t be shy for your dear fatherland...
The Russian people have endured enough
He also took out this railway -
He will endure whatever God sends!

Will bear everything - and a wide, clear
He will pave the way for himself with his chest.

These lines are the culmination of the development of the lyrical plot. The image of the road here takes on a metaphorical meaning: this is the special path of the Russian people, the special path of Russia. The third part of the poem is contrasted with the second. Here Vanya's father, the general, expresses his views. In his opinion, the Russian people are “barbarians,” “a wild bunch of drunkards.” Unlike the lyrical hero, he is skeptical. The antithesis is also present in the content of the third part itself. Here we encounter a reminiscence from Pushkin: “Or is Apollo Belvedere Worse than a stove pot for you?” The general here paraphrases Pushkin’s lines from the poem “The Poet and the Crowd”:

You would benefit from everything - worth it's weight
Idol you value Belvedere.
You don’t see any benefit or benefit in it.
But this marble is God!.. so what?
The stove pot is more valuable to you:
You cook your food in it.

However, “the author himself enters into polemics with Pushkin. For him, poetry, the content of which is “sweet sounds and prayers”..., and the role of the poet-priest are unacceptable. He is ready to “Give... bold lessons,” to rush into battle for the sake of the people’s “good.” The fourth part is an everyday sketch. This is a kind of denouement in the development of the topic. With bitter irony, the satirically lyrical hero paints here a picture of the end of his labors. The workers do not receive anything, because everyone “owes something to the contractor.” And when he forgives them the arrears, this causes wild rejoicing among the people:

Even the lazy man could not resist!

The people unharnessed the horses - and the merchant property

It seems difficult to see a more gratifying picture
Shall I draw, general?

There is also an antithesis in this part. The contractor, the “venerable meadow farmer,” and the foremen are contrasted here with the deceived, patient people. 2.3 Features of the composition of the work. Analysis of means of artistic expression and versification (presence of tropes and stylistic figures, rhythm, meter, rhyme, stanza).

Compositionally, the work is divided into four parts. It is written in dactyl tetrameter, quatrains, and cross rhymes. The poet uses various means of artistic expression: epithets (“vigorous air”, “in a beautiful time”), metaphor (“He will endure everything - and pave a wide, clear path for himself with his chest...”), comparison (“Ice is fragile on a chilly river Like melting sugar lies down"), anaphora ("A contractor is traveling along the line on a holiday, He is going to look at his work"), inversion "This noble habit of work"). Researchers have noted the variety of lyrical intonations (narrative, colloquial, declamatory) in the poem. However, they are all colored by a song tone. The scene with the image of the dead brings “The Railroad” closer to the ballad genre. The first part reminds us of a landscape miniature. The vocabulary and syntax of the work are neutral. Analyzing the phonetic structure of the work, we note the presence of alliteration (“The leaves have not yet had time to fade”) and assonance (“Everywhere I recognize my native Rus'...”).

2.4 The significance of the poem for the poet’s entire work... The poem “Railroad” was very popular among the poet’s contemporaries. One of the reasons for this is the sincerity and fervor of the lyrical hero’s feelings. As K. Chukovsky noted, “Nekrasov... in “The Railway” has anger, sarcasm, tenderness, melancholy, hope, and every feeling is enormous, each is brought to the limit...” N.A. Nekrasov is a poet whose popularity at one time eclipsed the popularity of Pushkin himself. This is largely explained by the fact that Nekrasov made the people, their bitter lot, their long-suffering fate the main theme of his poetry: “I dedicated the lyre to my people.” Nekrasov is a man of his time. No one but him was able to express with such force the main anxiety of the era - anxiety for the fate of his country, which was understood as the fate of a multi-million people. Whatever side of life the poet touched, everywhere he saw human suffering and tears, injustice and cruelty towards the people, be it a city street, a hospital for the poor, a railway embankment or an uncompressed strip outside a village.

3. Paintings and illustrations by outstanding artists for N.A. Nekrasov’s poem “The Railway”.

Whatever you say, foreigners should be shown the vitality and significance of Russia, but art will be the best expression of this intellectual power... Savitsky K.A.

3.1. Poem by N.A. Nekrasov and painting by K.A. Savitsky* “Repair work on the railway”, 1874. The painting “Repair work on the railway” was painted in the same year as “Barge Haulers” by I.E. Repin: both paintings are close in ideological orientation. Let's take a close look at the painting by K.A. Savitsky to understand the artist's intention (see the beginning).

A significant part of the picture is occupied by a huge depression, in which a large group of workers is moving in different directions. They carry sand in wheelbarrows. Most of them move from below towards the viewer, which allows one to see the extreme tension of the workers. In the foreground, this is emphasized by a pile of broken wheelbarrows that could not withstand the weight of the load. In the center of the foreground of the picture, a powerfully built worker rolls his wheelbarrow forward with a strong jerk. To the right and left of him are figures showing that the diggers’ strength is running out: an elderly worker, harnessed to a strap, cannot pull the wheelbarrow, although his comrade is pushing it by the handles. Behind the pile of broken wheelbarrows, we see the same extreme tension in the young man, driving the wheelbarrow with some desperation; nearby, a thin, emaciated worker hung helplessly in a strap. On both sides, railway embankments rise, as if blocking the workers' exit from this hell. The scorching sun and brown-yellow sand are everywhere where people work. It’s only good in the distance, in the center of the upper part of the picture: there you can see a copse, green grass and a blue sky. But the exit in that direction is blocked by the sharply outlined figure of a foreman with a stick in his hand. Despite the fact that the foreman is shown in a small shot, his figure stands out: his pose is motionless and calm. He stands pointedly straight, looking indifferently at the bent backs of the workers. His clothes (red shirt, caftan, boots, pulled-down cap) are neat, which contrasts with the clothes of the workers, who are somehow dressed in rags. The coloring of the picture evokes in the viewer the same impression as the overall composition, and enhances the ideological orientation of the picture. There is no doubt that this picture makes one remember N.A. Nekrasov’s famous poem “The Railway,” written a whole decade earlier:

We struggled under the heat, under the cold,
With an ever-bent back,
They lived in dugouts, fought hunger,
They were cold and wet and suffered from scurvy.

The literate foremen robbed us,
The authorities flogged me, the need was pressing...

But how does the main idea of ​​a poem differ from the idea of ​​a painting? Pictures of nature that are unpoetic at first glance (“kochi, and moss swamps, and stumps”) become beautiful under the magical “moonlight”; these are parts of the vast “native Rus'”. There is a lot in nature that seems ugly, but this is our Motherland. And it depends only on the person himself how he will see his homeland: through the eyes of a loving son or the critical gaze of a connoisseur of beauty. There is also a lot of terrible and ugly things in the life of the people, but, according to Nekrasov, this should not obscure the main thing: the creative role of the simple worker. It is after the terrible pictures of forced labor that the narrator invites Vanya to take a closer look at the railroad builders and learn to “respect a man.” The poet says that this work is not pleasure at all, it is hard, it disfigures a person, but such work is worthy of respect, since it is necessary. Awareness of the creative power of labor gives Nekrasov faith in the future. * Konstantin Apollonovich Savitsky (1845 – 1905) – an active participant in the “Association of Traveling Art Exhibitions”. His paintings are a vivid protest against war (“To War,” 1880), religious intoxication (“Meeting of an Icon,” 1878), and exploitation of the common people (“Repair work on the railroad,” 1874). Born in Taganrog into the family of a military doctor. He studied at the St. Petersburg Academy of Arts, where he was one of the best students. In 1871, he received a gold medal for his excellent performance of the painting based on the biblical story “Cain and Abel”. The artist’s creative style was formed under the influence of friendship with I.E. Repin, I.N. Kramskoy, M.M. Antokolsky, with whom Savitsky became close at the Academy of Arts, and the ideas of peredvizhniki. In 1874, at the III traveling exhibition, the artist presented the painting “Repair Work on the Railway,” which made the author’s name widely known. One of the artist’s most significant works reflects a whole phenomenon of contemporary life, where ordinary people become the main characters. The masterfully constructed multi-figure composition perfectly conveys the “choral principle” characteristic of the artist’s late work, the rhythm and intensity of the hard work of peasants working as loggers on the construction of the railway. The idea is echoed by the coloring of the painting, based on the tonal unity of gray, yellow, blue-gray, and brown colors. P.M. Tretyakov purchased it for his gallery, with the proceeds from the sale the young artist was able to travel to France, where Savitsky studied the experience of French painters and worked on the problem of plein air (“The Sea in Normandy (Fisherman in Trouble)”, 1875; “Travelers in Auvergne", 1876). Returning to Russia, in subsequent years the artist created several multi-figure paintings, “Meeting the Icon” and “To the War,” which were his response to the events associated with the Russian-Turkish War that began in 1877. The main theme of these paintings was the fate of the peasantry, apparently in connection with these works Savitsky would later be called “Nekrasov in painting.” He devoted more than 20 years to teaching, working in art schools in St. Petersburg, Moscow, and Penza. In 1897 he was awarded the title of academician of painting. Savitsky died in Penza on January 31, 1905.

3.2.I. Glazunov. Illustration for the poem by N. Nekrasov “Railroad”. 1970

The artist is obliged to understand and express, first of all, his time with its balance of power, with its understanding of good and evil, with its understanding of the harmony of the world and the purpose of art. Every work of art that conveys the truth about man, about the darkness and light of his spiritual quest, is a feat that requires civil courage from the artist.

I.S. Glazunov

Glazunov Ilya Sergeevich. (born June 10, 1930). Rector of the Russian Academy of Painting, Sculpture and Architecture, Full Member of the Russian Academy of Arts, Professor, People's Artist of the USSR, Honorary Member of the Royal Academies of Arts of Madrid and Barcelona, ​​Recipient of the Picasso Gold Medal of the UNESCO Award for Contribution to World Culture, Laureate of the Jawaharlal Nehru Prize, Laureate of the State Prize of the Russian Federation. Ilya Glazunov is an artist whose name has been the subject of controversy for several decades now. The public's admiration is accompanied by sharp criticism; in spite of everything, interest in the work of this extraordinary person does not wane. “Leningrad made me an artist,” he says, “with its huge masses of slender houses, its Palace Square, its Neva, bridges, wind... The Hermitage - the flickering of candles, reflected in the parquet, dark breakthroughs of paintings in gilded frames... As long as I can remember - drew. My first impression in my adult life was a piece of blue sky with a dazzling white foam of clouds, a road drowning in a field of daisies, and a mysterious forest in the distance. From that moment on, it was as if someone turned me on, saying: “Live!” “It is not only possible, but also necessary, to be proud of the glory of your ancestors; not to respect it is shameful indifference”—these words of Alexander Sergeevich Pushkin became Glazunov’s motto in his work on the “History of Russia” cycle. “The history of Russia is daring and wars, fires and unrest, rebellions and executions, victories and accomplishments,” says the artist. — There were moments of humiliation, but the hour struck, and Russia was reborn from the ashes even more beautiful, stronger and more amazing. The history of Russia is the red flame of the Revolution and faith in the future. But there is no future without a past. I believe in the future of humanity, I believe that it brings new inspired art, equal to the peaks of the past and, perhaps, higher...” The artist devoted more than 20 years to the cycle “History of Russia” and continues it. “Oleg with Igor”, “Prince Igor”, “Two Princes”, “Russian Icarus”, “Seeing off the Troops”, “Eve” (Dmitry Donskoy and Sergius of Radonezh on the eve of the Battle of Kulikovo), “Andrei Rublev”, “Russian Beauty” , “Mystery of the 20th Century”, “Eternal Russia” and many other paintings glorify the difficult and heroic fate of Ancient Rus'. An important stage in the artist’s creativity is the illustration of literary works. If the “City” cycle is compared with lyrical poems, then they write about the cycle of illustrations that in it Russia appears in all its social versatility and diversity. Illustrations for the works of Melnikov-Pechersky, Nikitin, Nekrasov, Leskov, Ostrovsky, Lermontov, Blok, Kuprin... From reading the entire writer, from his books, Glazunov strives to recreate the visible image of the Motherland - the way it crystallized in the writer’s soul. And what Glazunov succeeds in the end is not always an “illustration” in the literal sense of the word: it is both a pictorial addition to the writer’s text and an independent work. A series of such works constitutes a kind of pictorial encyclopedia of Russian life in bygone times. The name of the artist Glazunov is sometimes associated with the name of F.M. Dostoevsky; a series of illustrations made for his works conveys the writer’s thoughts and images in a visible form. Dostoevsky taught Glazunov to “look for man in man,” to sense in everyday reality the great course of times with its eternal fierce battle between good and evil, “where the battlefield is the heart of man.”

4.My illustrations I also wanted to write my own illustrations for N.A. Nekrasov’s poem “The Railway”. Firstly, I really liked this work, so I learned it completely by heart and told it in literature class, for which I received an “excellent” in the class magazine. Secondly, I study at an art school and it became interesting for me to try myself as an illustrator. Thirdly, of course, both my literature teacher and my parents supported me in my impulse.

Illustration one “Glorious autumn! Healthy, vigorous air invigorates tired forces.”

In the picture I depicted the edge of a forest, covered with bright leaves. A stream flows along the edge. In the moonlight, thin ice lightly covered a small river. I painted all this with gouache using a roller and sponge. It was with a sponge that I made highlights on the trees and the edge of the forest, covered with leaves.

Glorious autumn! Healthy, vigorous
The air invigorates tired forces;
Fragile ice on the icy river
It lies like melting sugar;

Near the forest, like in a soft bed,
You can get a good night's sleep - peace and space!
The leaves have not yet had time to fade,
Yellow and fresh, they lie like a carpet.

Glorious autumn! Frosty nights
Clear, quiet days...
There is no ugliness in nature! And kochi,
And moss swamps and stumps -

Everything is fine under the moonlight,
Everywhere I recognize my native Rus'...
I fly quickly on cast iron rails,
I think my thoughts...

Illustration two “Good dad! Why keep the smart Vanya charmed?”

In this picture I painted a train compartment in which Vanya, his dad and N.A. Nekrasov are sitting. This is a story illustration. The father-general is dressed in a rich coat with a red lining, and Vanyusha is in a coachman's jacket and Nekrasov is in a simple ordinary coat. And on this moonlit night, the narrator asks permission from the general to tell Vanyusha about the history of the creation of the railway along which they travel from Moscow to St. Petersburg, and, in particular, about its builders. How difficult it was, how much their work should be respected. I painted this picture with gouache, using a dry brush here and there.

Good dad! Why the charm?
Should I keep Vanya the smart one?
You will allow me in the moonlight
Show him the truth.

This work, Vanya, was terribly enormous
Not enough for one!
There is a king in the world: this king is withoutspared,
Hunger is his name.

Illustration three “You see, standing, exhausted with fever, a tall, sick Belarusian”

In this picture I imagined a sick Belarusian. To better convey the gloomy, frightening situation and the illness of the Belarusian, I used faded, dull and dark shades of gouache. I painted the painting itself with a dry brush. I felt very sorry for this Belarusian, so I painted carefully, slowly.

It's a shame to be timid, to cover yourself with a glove,
You're not little!.. With Russian hair,
You see, he’s standing there, exhausted by fever,
Tall sick Belarusian:

Bloodless lips, drooping eyelids,
Ulcers on skinny arms
Always standing in knee-deep water
The legs are swollen; tangles in hair;

I'm digging into my chest, which I diligently put on the spade
Day after day I worked hard all my life...
Take a closer look at him, Vanya:
Man earned his bread with difficulty!

I didn’t straighten my hunchbacked back
He is still: stupidly silent
And mechanically with a rusty shovel
It's hammering the frozen ground!

Illustration four “Listen, my dear: the fatal labors are over”

In this picture I depicted how the peasants’ labors ended, but it turned out that they were deceived. They received nothing for such great work: neither money nor rewards, on the contrary, they still owed money. In order to convey a depressing and at the same time joyful atmosphere (after all, the work was over), I used ocher and black gouache. The painting was painted with a dry brush.

Listen, my dear: fatal works
It’s over - the German is already laying the rails.
The dead are buried in the ground; sick
Hidden in dugouts; working people

A tight crowd gathered around the office...
They scratched their heads:
Every contractor must stay,
Walking days have become a penny!

The foremen entered everything into a book -
Did you take to the bathhouse, did you lie sick:
“Maybe there is a surplus here now,
Yes, here you go!..” They waved their hand…

Illustration five “An honorary meadowsweet in a blue caftan”

In this picture I painted a fat meadowsweet who sits on a horse and praises the workers. And for their enormous work, he gives them a barrel of wine, as if, in my opinion, as a mockery. But even this, the peasants and workers - all the railway builders - were happy. I painted this picture with gouache and a roller.

In a blue caftan - a venerable meadowsweet,
Thick, squat, red as copper,
A contractor is traveling along the line on holiday,
He goes to see his work.

The idle people part decorously...
The merchant wipes the sweat from his face
And he says, putting his hands on his hips:
“Okay... nothing... well done!.. well done!..

With God, now go home - congratulations!
(Hats off - if I say!)
I expose a barrel of wine to the workers
And - I give you the arrears!..”

Someone shouted “hurray”. Picked up
Louder, friendlier, longer... Lo and behold:
The foremen rolled the barrel singing...
Even the lazy man could not resist!

The people unharnessed the horses - and the purchase price
With a shout of “Hurray!” rushed along the road...
It seems difficult to see a more gratifying picture
Shall I draw, general?..

5. Commonwealth of Arts. Conclusions.

While doing this project, I learned a lot of new and important things for my future life: - about the life and work of Nikolai Alekseevich Nekrasov, the great Russian poet, about the important period of his work, about the history of the creation of the poem “The Railway”; — about the life and work of Konstantin Apollonovich Savitsky, a great Russian artist, about whom I knew nothing before the project, about the history of the creation of the painting “Repair work on the railway. 1874"; — about the life and work of Ilya Sergeevich Glazunov, a famous Russian artist, my contemporary, who with interest wrote illustrations for the works of N.A. Nekrasov; - and finally, I wanted to become an illustrator for the poem “Railroad” myself, and to see everything in my own way, through the eyes of a thirteen-year-old girl living in the twenty-first century. I agree with the words of I.S. Glazunov that “every work of art that conveys the truth about a person, about the darkness and light of his spiritual quest, is a feat that requires civil courage from the artist.” Nekrasov made the people, their bitter lot, their long-suffering fate the main theme of his poetry: “I dedicated the lyre to my people.” Nekrasov is a man of his time. No one but him was able to express with such force the main anxiety of the era - anxiety for the fate of his country, which was understood as the fate of a multi-million people. Whatever side of life the poet touched, everywhere he saw human suffering and tears, injustice and cruelty towards the people, be it a city street, a hospital for the poor, a railway embankment or an uncompressed strip outside a village.

6. List of references. 1. files.school-collection.edu.ru 2. http://www.glazunov.ru/ 3 Lebedev, A. From the bibliography about N. A. Nekrasov (List of basic literature for teachers over the past 10 years). - “Literature at school”, 2012, No. 2, p. 79-80. 4. Chukovsky K.I. Nekrasov N.A. in the book Nekrasova N.A. Poems for children from 3-12 M., “Children's Literature”, 1972 5. Works of the school curriculum in a brief summary Nekrasov N.A. pp. 206-207 M., Rodin and company, Ast publishing house, 1998 6. L.A. Rozanova. About the work of N.A. Nekrasova - M., 1988 7. N.N. Skatov. “I dedicated the lyre to my people” - M., 1985 8. N.I. Yakushin. Path to Nekrasov - M., 1987 Review of the research project of a student of grade 7 “B” of the Municipal Educational Institution “Gymnasium “Dmitrov”” Maria Alexandrovna Mokhnacheva. Maria Mokhnacheva’s work is dedicated to the poem by N.A. Nekrasov, works of art written for it, and the creation of her own illustrations for this poem. The relevance of the topic is beyond doubt, because this work is included in the school curriculum and the teacher can use the Machine project in his teaching activities. The modern world has a great influence on the younger generation, values ​​change, and Masha’s project has a beneficial effect on her peers. The author set herself the goal of studying the poem, the history of the creation of the Nikolaev Railway and writing her own illustrations. Masha did serious work on studying the images of the poem, themes, problems, she learned it by heart in full, and not an excerpt like others, got acquainted with the works of K.A. Savitsky and I.S. Glazunov, wrote her own illustrations, which she will present to the school literature room for memory. In her work, Masha describes the research step by step and uses specific examples to show how to solve the problems. The project under review is a serious and interesting work. It is executed at a high level and contains a number of conclusions of interest. The material in the work is presented consistently and clearly. The conclusions and findings are correct. I believe that the research project of Maria Aleksandrovna Mokhnacheva can be presented at the regional scientific-practical conference and deserves Head of the Department of Teachers of Russian Language and Literature _Khmelevskaya S.A.________________________________ / Full name/ “_7__” __April_____________ 2014

The great Russian poet N.A. Nekrasov has been familiar to us since childhood. His work influenced the entire further development of Russian poetry. The heir and continuer of the traditions of A.S. Pushkin, M.Yu. Lermontov, A.V. Koltsov, Nekrasov spoke about the suffering and hopes of the people. His poetry was the most important phenomenon of Russian social life and forever entered the treasury of Russian culture.

The poet was born on December 10, 1821 in Nemirov - the town of Kamenets - Podolsk province (now Vinnitsa region). Nekrasov spent his childhood in the village of Greshnev near Yaroslavl, the family estate of his landowner father. Here, on the Volga, surrounded by beautiful Russian nature, from childhood he saw the horrors of serfdom, forced labor of peasants and barge haulers. The poet retained in his soul his love for Russian nature and hatred of lawlessness and oppression throughout his life. In 1838, after graduating from the Yaroslavl gymnasium, Nekrasov, at the behest of his father, had to enter a military educational institution - the Noble Regiment. However, the poet did not obey his father and became a volunteer student at St. Petersburg University, for which he was deprived of all material support from his father. The poet later wrote about these and subsequent years, full of severe need and deprivation:

...Celebration of life - youth naked-

I killed under the weight of work...

Nekrasov first began publishing in 1838. Writes poetry, stories, vaudeville, reviews. The first collection of poems, Dreams and Sounds, was published in 1840. In 1842, he became close to V.G. Belinsky and his circle, which determined the entire further development of Nekrasov’s work. The poet dedicated many lines full of admiration and gratitude to the memory of the great critic and democrat.

...You taught us to think humanely,

Almost the first to remember the people,

You were hardly the first to speak

About equality, about brotherhood, about freedom...

From that time on, the theme of his works was not “pure lyricism,” but the life of the common people, a truthful depiction of the negative aspects of serfdom, bureaucratic life in bureaucratic Russia. The poet writes the poem “On the Road”, “Modern Ode”, “Lullaby”, “Hound Hunt”, “Moral Man” and others, as well as a number of prose works and critical articles. In 1847, Nekrasov, together with I.I. Panaev, acquired the Sovremennik magazine and became its permanent editor and publisher. N. G. Chernyshevsky and then N. A. Dobrolyubov collaborated with Sovremennik. In 1856, Nekrasov published a collection of poems, which was enthusiastically received by the leading people of Russia. Several poems from the collection, published in Sovremennik, aroused sharp dissatisfaction with the government. It was announced to Nekrasov that “the first such act would subject his magazine to complete cessation.

In the second half of the 50s and early 60s, the poet created works whose theme was the life of the oppressed peasantry. During this period, “Reflections at the Main Entrance”, “Song to Eremushka”, “On the Volga”, “Knight for an Hour”, “Peasant Children”, “Peddlers”, “Orina, the Soldier’s Mother”, “Frost, Red Nose” and other.

In 1866, after Karakozov's assassination attempt on Alexander II, the government intensified police repression. Sovremennik was closed. In 1868, Nekrasov, together with M. E. Saltykov-Shchedrin, became the head of the journal Otechestvennye zapiski, which, under their leadership, became an exponent of advanced democratic ideas. During these years, the theme of Nekrasov’s work was the revolutionary struggle against the autocratic system. Then the poems “Russian Women” and “Who Lives Well in Rus'” were written.

The life path of N. A. Nekrasov ended in 1878. The funeral of the poet, who had achieved national recognition, had the character of a popular political demonstration. Nekrasov is a truly folk poet. Many of his poems became songs, his works inspired many artists and composers.

The author of the proposed illustrations for the works of N. A. Nekrasov is Dementy Alekseevich Shmarinov, People's Artist of the USSR, full member of the Academy of Arts, laureate of State Prizes of the USSR, one of the leading masters of Soviet fine art. Over many years of his creative activity, the artist created illustrations for the works of the largest representatives of Russian and world classics.

D. A. Shmarinov was born on April 29 (May 12), 1907 in Kazan in the family of an agronomist. He studied in Kyiv (1919-1922) in the studio of N. A. Prakhov and in Moscow with D. N. Kardovsky (1923-1928). Known mainly as an illustrator. His works are characterized by realistic precision in the visual interpretation of literary works, convincing conveyance of dramatic situations and the socio-psychological characteristics of his characters. During the Great Patriotic War, he created a number of political posters and a series of easel drawings, imbued with angry pathos and telling about the suffering and courage of the Soviet people in the fight against the enemy. Author of the book “Years of Life and Work” (1989)

"Troika" (1846)

Why are you looking greedily at the road?

Off the beaten track?

You know, my heart sounded alarmed -

Your whole face suddenly flushed.

And why are you running hastily?

Following the rushing troika?...

At you, beautifully akimbo,

A passing cornet looked up.

It's no surprise to look at you.

Anyone wouldn't mind loving you:

The scarlet ribbon curls playfully

In your hair, black as night;

Through the blush of your dark cheek

Light fluff comes through

From under your semicircular eyebrow

The sly little eye looks smartly.

One glance of a black-browed savage,

Full of spells that set the blood on fire,

The old man will be ruined for gifts,

Love will rush into the young man's heart.

"uncompressed strip" (1854)

Late fall. The rooks have flown away

The forest is bare, the fields are empty,

Only one strip is not compressed...

She makes me sad.

The ears seem to whisper to each other:

“It’s boring for us to listen to the autumn blizzard,

Bored, they will bow to the ground,

Fat grains bathing in dust!

Every night we are ruined by the villages

Every passing voracious bird,

The hare tramples us, and the storm beats us...

Where is our plowman? what else is waiting?

"Reflections at the Front Door" (1858)

Once I saw the men come here,

Village Russian people,

They prayed at the church and stood away,

Hanging Russian heads to their chests;

The doorman appeared. “Let it go,” they say

With an expression of hope and anguish.

He looked at the guests: they were ugly to look at!

Tanned faces and hands,

The Armenian boy is thin on his shoulders,

On a knapsack on their bent backs,

Cross on my neck and blood on my feet,

Shod in homemade bast shoes

(You know they wandered for a long time

From some distant provinces).

"PEASANT CHILDREN" (1861)

Wow, it's hot!... We were picking mushrooms until noon.

Here they came out of the fox - just towards

A blue ribbon, winding, long,

Meadow river: they jumped off in a crowd,

And brown heads above a deserted river

What porcini mushrooms in a forest clearing!

The river resounded with laughter and howling:

Here a fight is not a fight, a game is not a game...

And the sun beats down on them with the midday heat.

Home, kids! It's time for lunch.

We're back. Everyone has a basket full,

And how many stories! Got caught with a scythe

We caught a hedgehog and got a little lost

And they saw a wolf... oh, what a scary one!

The hedgehog is offered moss and boogers,

I gave him my root milk -

Doesn't drink! They retreated...

"GREEN NOISE" (1862-1863)

Green noise goes on and on,

Green Noise, spring noise!

Playfully disperse

Suddenly a riding wind:

The alder bushes will shake,

Will raise flower dust,

Like a cloud, everything is green:

Both air and water!

The Green Noise goes on and on,

Green Noise, spring noise!

“THE VILLAGE MISSING IS IN FULL HEIGHT” (1862-1863)

You can hear the scream of the striped neighbors,

Baba there - the kerchiefs are disheveled -

We need to rock the baby!

Why did you stand over him in stupor?

Sing him a song about eternal patience,

Sing, patient mother!...

Are there tears, is there sweat above her eyelashes,

Really, it’s hard to say.

In this jug, plugged with a dirty rag,

They'll go down - no matter!

Here she is with her singed lips

Greedily brings it to the edges.....

Are salty tears tasty, dear?

Half and half sour kvass?..

"FROST, Red NOSE" (1863-1864)

Not a sound! The soul dies

For sorrow, for passion. Are you standing

And you feel how you conquer

Its this dead silence.

Not a sound! And you see blue

The vault of the sky, the sun, and the forest,

In silver-matte frost

Dressed up, full of miracles,

Attracting an unknown mystery,

Deeply dispassionate... but here

A random rustle was heard -

The squirrel goes up the tops.

She dropped a lump of snow

At Daria, jumping on a pine tree.

And Daria stood and froze

In my enchanted dream...

"Railroad" (1864)

It's a shame to be timid, to cover yourself with a glove,

You're not little anymore!... Your hair is russian,

You see, he’s standing there, exhausted by fever,

Tall, sick Belarusian:

Bloodless lips, drooping eyelids,

Ulcers on skinny arms,

Always standing in knee-deep water

The legs are swollen; tangles in hair;

I'm digging into my chest, which I diligently put on the spade

Day after day I worked hard all my life...

Take a closer look at him, Vanya:

Man earned his bread with difficulty!

I didn’t straighten my hunchbacked back

He still does: stupidly wets

And mechanically with a rusty shovel

It's hammering the frozen ground!

This noble habit of work

It would be a good idea for us to share with you...

Bless the work of the people

And learn to respect a man.

"Uncle Yakov" (1867)

“Stop, old man!” The old man was surrounded

There are tons of guys, girls, and kids.

Everyone exchanged sweets, bought...

What a fuss and chaos it was!

Laughing at someone sad Kuzya:

Holds the horse in front of the gold leaf's nose;

The horse is a sight for sore eyes and a varnished piece….

Where can you endure? Eat, boy!

I feel sorry for the orphan girl Feklusha:

Everyone is chewing, and you swallow your saliva...

“On the pear! To the pear!

Buy it, change it!”

"General Toptygin" (1867)

She rushed quickly and furiously

Three - and no wonder:

On a bump every time

The beast growled zealously;

There was only groaning all around:

“Clear the road!

General Toptygin himself

He's going to the den!

The man oncoming will shudder,

It will be terrible for the woman,

Like a furry little saddle

He barks on a bump.

And the horses are even more afraid -

We didn't take a break!

Fifteen versts at full speed

Poor guys got away!

She woke up - sleep was in her hand!

Chu, heard ahead

"Hey, coachman, wait a minute"

Then the party of exiles is coming,

My chest began to ache more painfully.

The princess gives them money, -

“Thank you, bon voyage!”

For a long, long time their faces

They dream later

And she can’t drive away her thoughts,

Don't forget about sleep!

“who lives well in Rus'” (1863-1877)

In what year - calculate

Guess what land?

On the sidewalk

Seven men came together:

Seven temporarily obliged,

A tightened province,

Terpigoreva County,

Empty parish,

From adjacent villages:

Zaplatova, Dyryavina,

Razutova, Znobishina,

Gorelova, Neelova-

There is also a poor harvest,

They came together and argued:

Who lives happily and freely in Rus'?

Roman said: to the landowner,

Demyan said: to the official,

Luke said: ass.

To the fat-bellied merchant! –

The Gubin brothers said,

Ivan and Metrodor.

Old man Pakhom pushed

And he said, looking at the ground:

To the noble boyar,

To the sovereign minister.

And Prov said: to the king...

"Russian women" (1871-1872)

She woke up - sleep was in her hand!

Chu, heard ahead

A sad ringing - a shackled ringing!

"Hey, coachman, wait a minute"

On December 10, 2004 at 16.30, the Ministry of Culture and Mass Communications, the All-Russian Museum of A.S. Pushkin, the Memorial Museum-Apartment of N.A. Nekrasov, on the occasion of the 183rd anniversary of the birth of N.A. Nekrasov, presents an exhibition from the museum’s funds “Creativity of N. "A. Nekrasov in illustrations by artists of the 19th-20th centuries."

The exhibition of the N.A. Nekrasov Apartment Museum - a branch of the All-Russian Museum of A.S. Pushkin - tells about the life and work of N.A. Nekrasov and his contemporaries in the post-Pushkin era. In this apartment, where the poet lived for the last twenty years, there was an editorial office of the best Russian magazines of the 2nd floor. XIX century: "Contemporary", conceived and published by Pushkin, and "Notes of the Fatherland". All the cream of Russian literature of this era visited here: I. Turgenev, L. Tolstoy, A. Ostrovsky, F. Dostoevsky, M. Saltykov-Shchedrin and many others. other famous poets and writers.

The museum actively participates in the cultural life of St. Petersburg and periodically organizes temporary exhibitions of St. Petersburg artists, both masters of Russian realistic painting and contemporary ones, in its exhibition halls.

This exhibition from the museum’s collection presents illustrations by artists of the 19th-20th centuries to the works of N.A. Nekrasov.

The development of reproduction woodcuts caused in the 1830-1850s. a wave of widespread illustration in Russia. The use of this technique made it possible to significantly increase book circulation, reduce publishing costs, make illustrated books more accessible to the reader, and from now on, pictures, caricatures, and polytypes become an indispensable part of books, various collections, and periodicals. It was during these years that N.A. Nekrasov developed as a poet and publisher. Being a writer of the natural school, he was one of the first to come to the idea that text and pictures complement each other. An example of such aesthetic unity is demonstrated at the exhibition by Nekrasov’s “Illustrated Almanac”.

The chronological framework of the exhibits presented at the exhibition is as follows: from the first lifetime illustrations to the works of N.A. Nekrasov - to the works of artists of the late twentieth century.

In the first hall, works by A.I. Lebedev, N.V. Ievlev, P.P. Soklov, E.M. Bem, N.D. Dmitriev-Orenburgsky, R.K. Zhukovsky, E.E. Bernardsky, M. .P.Klodt.

The second hall exhibits illustrations by artists of the second half of the twentieth century, such famous masters as: N.I. Altman, D.A. Shmarinov, K.A. Klementyeva, A.F. Pakhomov, V.A. Serov, B. A. Protoklitov, D. Borovsky. Some products of Palekh artists on the theme of the exhibition are presented.

Graphic works by masters of different art schools, which form the basis of the exhibition, differ from each other in execution technique, manner and degree of talent. They accurately reflect the era in which they were created. The harsh times of the early twentieth century. reflected in the drawings of P. Shmarov in 1905. The ink drawings of D.N. Kardovsky for the story “Twenty-five rubles” are imbued with irony and gentle humor. Drawings by D.I. Mitrokhin are shown both in the original and on the pages of the “First Collection” of poems by N.A. Nekrasov, published in Petrograd in 1919. A series of brilliant watercolors by artists B.M. Kustodiev, G.K. Savitsky, P.D. Buchkin was completed in 1921 in Petrograd for the 100th anniversary of N.A. Nekrasov. Being complete works of graphics, these drawings are inseparable from Nekrasov’s text, translated by the artists into the language of visual images.

These works have many merits, but in a literary museum I would like to put in first place the artist’s ability to read N.A. Nekrasov’s text, the desire to understand the author’s intention, the artist’s delicacy and sensitivity to the poet’s manner and style.

The opening of such an exhibition and the holding of a festive event dedicated to the next anniversary of the poet’s birth is a notable event in the life of St. Petersburg. We are waiting for guests in the exhibition halls of the N.A. Nekrasov Museum on Liteiny.

Popova Ksenia Andreevna

8B class

MBOU "Secondary school of the village. Round Field"

Tukaevsky municipal district of the Republic of Tatarstan

Title of the work: “Works of Russian writers in the fine arts.”

Head: art teacher Gufranova Nadezhda Veniaminovna

Table of contents

Introduction.

2.1.

2.2. Illustrations by graphic artist A. Lebedev.

3. Conclusion.

“Works by N.A. Nekrasov in fine arts.”

Introduction.

In this 2010-11 academic year, we celebrate the anniversaries of Russian writers: 120 years since the birth of M.A. Bulgakov, 190 years since the birth of N.A. Nekrasov, 190 years since the birth of F.M. Dostoevsky and many others.

A month ago we took part in the All-Russian children's drawing competition “I Came Out of the Forest.” The competition was dedicated to the 190th anniversary of the birth of N.A. Nekrasov and was included in the project “The Fatherland Through the Eyes of Children.”

To participate in this competition, I had to read most of the wonderful works of N.A. Nekrasov, consider the works of the Itinerant artists and illustrators.

This knowledge helped me prepare for the scientific and practical conference named after L.N. Tolstoy.

“Works by N.A. Nekrasov in fine arts."

Nekrasov's types, Nekrasov's village, Nekrasov's landscape - how often these definitions appear in essays and monographs about many Russian artists. Nekrasov's poetry had a certain influence on the formation and establishment of democratic tendencies in Russian fine art of the 1850s-1870s. Nekrasov’s views on Russian reality were close to many Peredvizhniki artists.

1. The poem by N.A. Nekrasov “Silence” and the painting by the artist I.I. Shishkin “Rye”.

From I.V. Dolgopolov’s article “Ivan Shishkin” I learned that our fellow countryman, Ivan Ivanovich Shishkin, painted the landscape “Rye”. The painting was painted after the artist’s trip to Yelabuga in 1877. Throughout his life, he constantly came to his father’s land, where he seemed to draw new creative strength. The motif found in the homeland, captured in one of the pencil sketches with the author’s laconic inscription: “This,” formed the basis of the painting.

The very name “Rye” to a certain extent expresses the essence of what is depicted, where everything is so wisely simple, and at the same time significant. This work is involuntarily associated with the poem “Silence” by N. A. Nekrasov, whom Shishkin especially loved.

All the rye around is like a living steppe,

No castles, no seas, no mountains.

Thank you, dear side,

For your healing space.

And V. Dolgopolov analyzes the painting “Rye” in these words:

“...It turned out to be a special, quiet, fine day.

The field of ripening grain stretched majestically and spaciously, and among this ocean of golden rye, like guardians of Russian wealth, giant pine trees stood, raising their proud peaks to the very sky.

An incredible silence reigns in the landscape. It seems that you can hear every blade of grass breathing. The even, unhurried breath of the field reaches the ear. Only the chirping of small birds - swallows, piercingly cutting the air above the ground - disturbs the peace. Huge cumulus clouds crowd in the bluish haze near the horizon.

Soars.

And, despite the fact that the breeze does not sway a single spikelet, not a single branch of the pine trees, the soul senses that there will be a thunderstorm...

The vague state of anxiety is intensified by the burnt, lonely skeleton of a tree, sticking out absurdly and wildly among this enchanting grace. Maybe a lightning strike burned the pine tree?

It looms strangely and sadly, reminding the viewer of the accidents, adversities, and troubles of the author of the painting.

This landscape is not so idyllically calm. A serious, almost minor note of a complex, difficult life, not always clear and comprehensible, can be heard in the picture. It is revealed and supported by the theme of a road buried in rye, along which two travelers are wandering, and birds are circling above them high, high in the blue zenith...”

I. N. Kramskoy wrote in his letter to Ilya Repin: ““Rye” is one of Shishkin’s most successful works in general. Thanks to a wide linear perspective and color generalization in the rendering of a field of ripe rye and an almost lifeless air environment, the painter achieves a monumental narrative. The landscape is deliberately static, as if captured by the artist for eternity.

2.2.Illustrations by graphic artist A. Lebedev.

Artists of Nekrasov’s circle sought to “convey everything that can be captured with a remarkable pencil, both in the past and, especially, in the modern life of the Russian people...” Artists often emphasized the satirical, accusatory principle in Nekrasov’s poetry. Perhaps the most significant illustrations for the poet’s works at that time were created by the famous graphic artist A. Lebedev. Lebedev first turned to Nekrasov’s work in the mid-1860s. A. Lebedev's works are close in spirit to his poetry. The artist deliberately chooses poems about the hard life of the common people, sympathy for the “little man”, criticism of the existing order: “Reflections at the front entrance”, “Who lives well in Rus'”. Lebedev's drawings can hardly be called illustrations in the modern sense. These are easel compositions. The album of his drawings “Something from Nekrasov” (1878) enjoyed considerable success, but was not completed because censorship banned publication.

2.3. Female images in the works of the poet N.A. Nekrasov and artists A.G. Venetsianov and V.G. Perova

In his work, Nekrasov pays special attention to revealing female images. At the same time, observing and studying female character, he is not limited to his circle - the circle of the family nobility. His creative intuition and poetic imagination are able to penetrate the soul of a simple peasant woman, the wife of a Decembrist, and even a fallen woman.

The Russian peasant woman became the heroine of many of Nekrasov’s poems and poems; they are all imbued with deep compassion for her fate:

He didn't carry his heart in his chest,

Who did not shed tears over you, -

the poet writes, speaking about the fate of a Russian woman.

Women in Nekrasov's poetry are always doomed to injustice; her unhappy fate is predetermined by the society in which she lives. We see this in the poems of N.A. Nekrasov's "Russian Women", "Frost, Red Nose", in the center of one of the most significant chapters of the epic poem "Who Lives Well in Rus'" - again the image of a woman, a peasant woman. In one of his poems, the poet calls a young peasant woman being beaten in the square the sister of his muse.

Yesterday, at about six o'clock,

I went to Sennaya;

There they beat a woman with a whip,

A young peasant woman.

Not a sound from her chest

Only the whip whistled as it played...

And I said to the Muse: “Look!

Your dear sister!"

A. Amshinskaya, in the article “Alexey Gavrilovich Venetsianov,” claims that in the paintings the prototypes of Venetsianov’s peasant women were Nekrasov’s women, although they were created a quarter of a century later. I completely agree with her, although many critics refute this. They refer to the fact that in the critical literature about Nekrasov, nor in the works dedicated to Venetsianov, they did not find a comparison of their works.

Reading the works of N.A. Nekrasov and looking at the paintings of the artist A.G. Venetsianova, I see the similarities.

Venetsianov's gallery of folk female images is diverse - the appearance of the peasant women who posed for the artist, their character, and age are different. However, there is something common in the internal state that unites them all.

Venetsianov’s early painting “Peeling Beetroot” depicts a group of peasant women busy peeling beets. The arrival of a guy broke the monotonous, measured rhythm of work, and at this moment of unexpected respite, the state characteristic of each of the women is revealed: a little girl - a foolish one - is busy with her porridge, a teenage girl is immersed in the happy world of fairy tales, a girl standing on the threshold of maturity is full of reverent curiosity about life. Her face is turned to her older neighbor, and as if in response to her hope-filled gaze, she meets the extinguished, joyless gaze of an elderly woman, conducting some kind of silent dialogue with the young man who has come. The expression on the peasant woman’s face is striking with indifference, physical and mental fatigue, complete inner emptiness, behind which there is no longer and cannot be any hope.

Looking at the picture, I remembered N.A.’s poem. Nekrasov "Troika":

From menial and difficult work

You will fade before you have time to bloom,

You will fall into a deep sleep.

You will babysit, work and eat.

We see the same fatigue and inner emptiness in the face of the woman putting on her bast shoes in the painting “The Threshing Barn.”

I think you agree with me that the plots and characters of the works of Nekrasov and Venetsianov are similar. Their works are imbued with deep compassion for the Russian “peasant” woman, tortured by work, whose unfortunate fate becomes the object of their depiction.

However, the Russian woman appears in Nekrasov’s poems and Venetsianov’s paintings as a “stately Slavic woman,” as Nekrasov called him in the poem “Frost, Red Nose.” The appearance of such a woman embodies folk ideas about a real beauty: firmly built, ruddy, lively, dexterous, hardworking.

The beauty is a wonder to the world,

Blush, slim, tall,

She is beautiful in any clothes,

He is dexterous in any work.

Venetsianov’s painting “Bathers” exudes the same warmth and humanity. Venetsianov's bathers are ordinary Russian peasant women, with healthy and beautiful bodies, they have strong and coarse hands, slightly reddened knees. Indeed, such a woman

Stops a galloping horse

He will enter the burning hut.

We can say that the ideal of Nekrasov and Venetsianov is a beautiful Russian woman, rosy, lively, hardworking. Whoever the poet and artist portrayed - peasant women or representatives of the nobility - they admire the determination and pride of the Russian woman, her ability for self-sacrifice and strength of character, at the same time they lovingly describe simple Russian girls, their clean faces and pure souls, their freshness, warmth and humanity.

Such, for example, is Perov’s painting “Seeing Off a Dead Man,” in which everything - the figure of a widow broken by grief, and the wide-open sad eyes of the children, and the twilight, dreary winter landscape, and the coffin upholstered in matting - everything conveys the idea of ​​Nekrasov’s poem with amazing force “Frost - Red Nose” involuntarily evokes the mournful lines:

Savraska got stuck in half a snowdrift;

Both guys and the dead man

Two pairs of frozen bast shoes

They sat, not daring to cry.

Yes, the corner of a matting-covered coffin

And, ruling Savraska, at the tomb

They stick out from the wretched woods...

With the reins their poor mother

Chagall...

The painting “Seeing Off the Dead Man” is the result of Perov’s deep study of peasant life, which from now on became the main theme of his art.

Conclusion.

To the works of N.A. Nekrasov was approached by artists of various types, finding a lot of interesting things for themselves in his poetry.

Nekrasov - the poet inspired I. Shishkin (“Rye”) with his poem “Silence”; the poems “Who Lives Well in Rus'” and “Reflections at the Main Entrance” by the graphic artist A. Lebedev; poems and poems “Russian Women”, “Frost, Red Nose”, “Troika”, G. Venetsianov (“Peeling the Beetroot”, “The Threshing Barn”, “Bathers”, Fortune Telling on Cards”, “Morning of the Landowner”); V. Perova (“Troika”, “Seeing the Dead Man”); poem “Green Noise” by A. Ryleev (“Green Noise”); the poem “Reflection at the Main Entrance” by I. Repin (“Barge Haulers on the Volga”); poem “The Railway” by G. Savitsky (“Repair work on the railway”).

Illustrators such as A. Lebedev, V. Serov, V. Nagaev, N. Vorobyov, S. Gerasimov, P. Sokolov lovingly illustrate a truly “folk” poet.

Bibliography.

1. Amitrov G. Poem by N.A. Nekrasov “Russian Women”. - M.: Children's literature, 1965.

2. Amshinskaya A. Alexey Gavrilovich Venetsianov. - M., 1980.

3. Alexey Gavrilovich Venetsianov. Article. Letters. Contemporaries about the artist. Contents, introductory article and notes. A.V.Kornilov. - L., 1980.

4. Brief literary encyclopedia. T.6. - M., 1982.

5. Leontyeva G.K. Alexey Gavriilovich Venetsianov. - L., 1980.

6. Nekrasov N.A. Poems and poems. - Ufa, 1981.

7. Stepanov N. Poem by N.A. Nekrasov “Russian Women”. - M.: Children's literature, 1985.

8. I.V. Dolgopolov “Ivan Shishkin”, “Artists” magazine.

9. sparrow.ucoz.ru/

10. load/children_work...

1 1. nekrasov.niv.ru