Reflection of Russian reality in the works of Pryanishnikov. Pryanishnikov, Illarion Mikhailovich

"Cruel Romances" 1881
State Tretyakov Gallery, Moscow, Russia

In the village of Timashovo there lived a merchant. His name was Mikhail Pryanishnikov. A small shop in his native village is all his property.

And he had a beloved son, Lariosha. Whatever Lariosha undertakes, he will do everything beautifully, with soul. He carves skates from wood, boats - it seems that they will float, and horses stamp their wooden hooves - and look for the wind in the field.

“I am not rich, but Lariosha will become rich and famous,” the father dreamed. “He will glorify our family. “Look,” people will say, “here comes the richest of the rich, the most venerable of the venerable Illarion Pryanishnikov,” and they will bow to his waist.”

And Lariosha caught fish in the pond, played Cossack robbers, tag, and lapta with the neighboring children. He also played siskin, dice, knucklebones, rode downhill on a sled, and on an ice rink. In the summer I ran into the forest to pick mushrooms and berries - in general, I lived well.

“Children Fishing” 1882
Krasnoyarsk Art Museum them. V.I. Surikova

There was no time to be bored in the village. Sometimes there was a fire, and the whole world rushed to put it out. But when they didn’t have time, the fire victims left with their small children to wander around the world and beg. Many such fire victims passed through their village. Old disabled soldiers on crutches, tired peddlers with penny goods, blind singers walked and walked. Children and compassionate women listened to their mournful songs, gave them food, and they moved on, homeless, useless to anyone.

Lariosha feels sorry for these unfortunates! He ran into the forest and cried, and the pines rustled above his head and comforted him.

Lariosha turned ten years old, and his father took him as an assistant in his shop. The clever Lariosha has long noticed that the son of a blacksmith grows up and becomes a blacksmith, the son of a shoemaker - a shoemaker, a master - a master, a peasant's son - a peasant. This means that the son of a merchant must be a merchant. It was written like that for him.

Pryanishnikov Illarion Mikhailovich, 1840-1894 - Russian artist and teacher, master of genre painting

Waiting for the best man, 1891

Rural holiday, 1870

V. G. Perov. Portrait of I. M. Pryanishnikov. Around 1862.

Pryanishnikov Illarion Mikhailovich(Pryanishnikov Illarion Mikhailovich), Russian genre artist, full member of the St. Petersburg Academy of Arts (1893). Born on March 20, 1840 in the village of Timashovo, Moscow province (currently Kaluga region). He studied at the Moscow School of Painting, Sculpture and Architecture (1856-1866) with Evgraf Semenovich Sorokin and Sergei Konstantinovich Zaryanko. In 1870 Pryanishnikov was awarded the title of artist 1 article.

Reading a letter in a small shop,1864

Already in the first works of the early 1860s (“Peddler Boy”, “Reading a Letter in a Petty Shop”), the features of the artist’s talent were clearly evident: observation, the ability for lively and accurate socio-psychological characteristics, rich colors of painting. And the picture he painted in Last year training - "Jokers. Gostiny Dvor in Moscow" (1865, Tretyakov Gallery, Moscow) - immediately brought him wide fame. In the painting “Jokers,” the artist depicted Moscow hoteliers making fun of a drunkard official who dances in front of them to the sounds of a harmonica.

Jokers. Gostiny Dvor in Moscow,1865

The next stage in the development of Pryanishnikov’s creativity is associated with the paintings “Pogoreltsy” (1871), “Empty People” (1871, Kharkov Art Museum; the second version of the painting - 1872, Tretyakov Gallery), which were exhibited at the first traveling exhibition and were recognized by critics as major achievements of Russian painting. Pryanishnikov's works of the 1870s differed from his earlier ones in greater compositional integrity and color saturation. The landscape in these paintings turned from a conventional background into a poeticized environment, enriching the figurative structure of poignant scenes drawn by the author from folk life.

Empty, 1872

The painting “Episode from the War of 1812” (1874, Tretyakov Gallery, Moscow) became widely known. Pryanishnikov was the first of the painters to depict the Patriotic War as a people's war. Not the generals, but poorly dressed peasant partisans leading captured French across the snowy plain, appeared in this modest but very expressive picture as the true creators of the victory over Napoleon’s army.

Episode of the War of 1812, 1874

The severity of the historical motif did not prevent Pryanishnikov from achieving a subtle, refined coloring of the picture and conveying his admiration for the beauty of the Russian winter. In the 1880-1890s, Pryanishnikov worked on large-scale canvases that depicted the diverse masses of the people and made it possible to unite general action various types and characters of the Russian village: “Spassov Day in the North” (1887, Tretyakov Gallery, Moscow), “Common sacrificial cauldron on the patronal holiday” (early 1890s). And next to him in his work there appeared chamber, “twilight” in mood images and plots “In the artist’s studio” (1890), “In the province” (1893). They related Pryanishnikov to the aspirations of the painters of the next, “Chekhov” generation.

Spasov Day in the North, 1887

Pryanishnikov was a participant in the association of traveling art exhibitions from its very foundation, and from the 2nd traveling exhibition he became a permanent member of the board of the association. He was a teacher at the Moscow School of Painting and Painting (1873-1894), a teacher of many subsequently famous painters - S. V. Ivanov, S. A. Korovin, M. V. Nesterov, V. K. Byalynitsky-Biruli and other artists. In 1893, Pryanishnikov was elected a full member of the Academy of Arts, but did not have time to begin teaching there. Pryanishnikov’s last painting, “The Procession,” remained unfinished due to the death of the author. Pryanishnikov Illarion Mikhailovich died on March 12, 1894 in Moscow.

Mrs. Belyustina M.G.,

Chopping, 1874

Return from the fair, 1883

Cruel Romances, 1881,

End of the hunt, 1884

Tasters, 1860s,

Walkers walking, 1870

Children fishing, 1882

On Bald Mountain, 1880s

On draft, 1881

Hunting is better than bondage, 1881-1882

Preparing fields for sowing flax in the Vologda province, 1890,

In the artist's studio, 1890

Sparrows. Guys on the fence

Amateur, 1860s

Peasant with a spear on his shoulder

"Burnt." 1871

Easter 1885

At the church.

Church warden.

At the quiet pier

Backyard.

Procession of the Cross, 1893

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Waiting for the best man

Illarion Mikhailovich Pryanishnikov is a Russian painter, teacher and outstanding master of genre painting, one of the founders and permanent member of the board of the Association of Itinerants, member of the St. Petersburg Academy of Arts.

V. G. Perov. Portrait of I. M. Pryanishnikov

The artist Illarion Pryanishnikov was born in March 1840 in the village of Timashovo (Borovsky district, Kaluga province), in the family of a merchant.

From childhood he was fond of painting and in 1852, at the age of 12, he entered the Moscow School of Painting, Sculpture and Architecture. But, after a year of study, due to a difficult financial situation, he was forced to leave his studies and went to work in a merchant’s shop as a “boy.” Only in 1856 Pryanishnikov managed to return to the walls of the school.

Pryanishnikov’s teachers at the Moscow School were E.S. Sorokin, A.N. Mokritsky, S.K. Zaryanko and E.Ya. Vasiliev. And it was Yegor Yakovlevich Vasiliev who ensured that the talented young artist Pryanishnikov studied for free, and in addition, he settled the student with himself.

At the school, Illarion Pryanishnikov became friends with Vasily Perov, the young people helped each other (Prianishnikov, for example, posed for Perov when creating the painting “The Arrival of the Stanovoy”), and in 1862 they spent the whole summer together in the Trinity-Sergius Lavra.

Two years later, in 1864, for the painting “Reading a Letter in a Petty Shop” Illarion Pryanishnikov was awarded a Small Silver Medal.

Reading a letter in a small shop

And in 1865, the year of graduation from college, for the painting “Jokers. Gostiny Dvor in Moscow", the artist received a large silver medal and the title of class artist of the 3rd degree.

Jokers. Gostiny Dvor in Moscow

This work brought Illarion Mikhailovich wide fame. It was decided to send “Jokers” to the International Exhibition in Vienna. However, the picture was never shown to the public in the Austrian capital. According to rumors, an order was received to remove the painting so as not to show “our ulcers to Europe.”

In 1869, Pryanishnikov most actively (became one of the founding members) participated in the creation of the Association of Traveling Art Exhibitions - for many years the artist did not miss a single exhibition, regularly presented his works for organizing exhibitions, and from the second exhibition of the Association he became a permanent member of the board this association of artists.

From about the second half of the sixties of the nineteenth century, for almost ten years, Pryanishnikov painted pictures about Moscow life. At that time the artist wrote:

For us, Russian genre writers, Moscow is a treasure. Here Gogol, and Ostrovsky, and Turgenev, and Tolstoy - everything is brought together; look and observe our purely Russian life.

During this period, “At the Puppet Theater”, “The Passersby”, “The Seamstress” and many other works were written.

Kaliki walking

For the paintings “Walking Walkers” and “Seamstress”, Pryanishnikov was awarded the title of artist of the 1st degree.

And from the second half of the 70s, Illarion Mikhailovich, following the trends of Russian painting of that period, moved into a “multidimensional” image, which assumed greater color saturation and compositional integrity of the plot.

The painting of that period “Empty”, which was shown to the public at the Association exhibition in 1871, was very well received by the public and critics, and brought new success to its author. Newspapers wrote that Pryanishnikov was an innovative artist who successfully combined landscape and genre motifs. “Empty” were purchased even before the opening of the exhibition and P.M. Tretyakov, who never purchased copies or repetitions for his collection, ordered a copy (repetition) from the author for his gallery.

Empty

In 1874, Pryanishnikov completed the painting “In 1812” - the artist worked on this painting for almost 10 years, wrote several versions of the painting (the fourth version is now in the Tretyakov Gallery).

In 1812

Having seen this painting, Kramskoy wrote to Repin:

Pryanishnikov wrote a good thing - “Prisoned French in 1812.”

Since 1873, Illarion Pryanishnikov began teaching at the Moscow School of Painting, Sculpture and Architecture. His students, in different time, there were Arkhipov, Baksheev, Bogdanov-Belsky, Byalynitsky-Birulya, Zhukovsky, Ivanov, Kasatkin, Korovin, Korin, Lebedev, Malyutin, Stepanov and many others.

Pryanishnikov, permanently living in Moscow, traveled a lot and especially often went to the Russian North, with pleasure and love he painted pictures from the life of the Russian North.

In 1891, having learned that he was sick with tuberculosis, the artist settled in Crimea, but a year later he returned to Moscow and soon, in 1893, was elected a full member of the Academy of Arts. And in March 1894 the artist died. Hilarion Pryanishnikov was buried in Moscow, at the cemetery of the Novo-Alekseevsky Monastery.

Paintings by artist Illarion Mikhailovich Pryanishnikov

Spasov day in the north
Chopping Mrs. Belyustina M.G.
Returning from the fair Cruel Romances End of the hunt
Tasters
Children fishing On Bald Mountain On traction Hunting is worse than bondage
In the artist's studio
Sparrows. Guys on the fence
In ambush Amateur Peasant with a spear on his shoulder
Burnt Easter At the church
Church warden
At the quiet pier
Backyard
Procession Name unknown
Preparing fields for sowing flax in the Vologda province Tatar Spinner
Night fishermen

Pryanishnikov Illarion Mikhailovich (1840-1894)

One of the most talented genre artists of the second half of the 19th century, I. M. Pryanishnikov reflected in his work the most important trends in the development of realistic painting and became a prominent figure in the generation of the Wanderers.

Pryanishnikov studied at the MUZhV (1856-65) with S.K. Zaryanko, who oriented students towards a thorough and strict study of nature, but paid less attention to the figurative generalization of nature.
Pryanishnikov discovered a lot for himself on his own, paving the way for a new, realistic vision in art.

Already in the first works of the early 1860s. (“The Peddler Boy,” “Reading a Letter in a Petty Shop”) the features of the artist’s talent were clearly revealed: observation, the ability for lively and accurate socio-psychological characteristics, rich colors of painting. And the picture he painted in his last year of study - “Jokers. Gostiny Dvor in Moscow” (1865) - immediately brought him wide fame. This small canvas provides an original solution to a typical everyday genre post-reform decade themes of humiliation of human dignity, callousness and cruelty in a world where everything is bought and sold. Having depicted the amusing money-bag merchants who mockingly force a poor elderly official to dance to the accordion, the artist with great authenticity demonstrated a whole gallery of examples of moral ugliness and self-satisfied rudeness. The painting aroused the indignation of some “zealots” of official academic art, who believed that the young painter acted as a destroyer of the “high” purpose of art to express eternal truths in an ideal form.

The next stage in the development of Pryanishnikov’s creativity is associated with the paintings “Pogoreltsy” (1871), “Empty People” (1872), which were exhibited at the First Traveling Exhibition and were recognized by critics as major achievements of Russian painting. Pryanishnikov's works of the 1870s. differed from the earlier ones in greater compositional integrity and color saturation. The landscape in these paintings turned from a conventional background into a poeticized environment, enriching the figurative structure of poignant scenes drawn by the author from folk life.

Illarion Mikhailovich Pryanishnikov(March 20 (April 1), 1840 - March 12 (24), 1894) - Russian artist and teacher, master of genre painting, full member of the St. Petersburg Academy of Arts (since 1893), one of the founders of the Wanderers Association.

Biography

Born on March 20 (April 1), 1840 in the village of Timashovo, Borovsky district, Kaluga province, into a merchant family. Already at the age of 12, he began studying at the Moscow School of Painting, Sculpture and Architecture, but a year later he left it: he had to go to work as a “boy” in a merchant’s shop. In 1856 he resumed his studies. Until 1866, Pryanishnikov studied with such masters as E. S. Sorokin, S. K. Zaryanko, A. N. Mokritsky, E. Ya. Vasiliev. It was Vasiliev who secured the right for a talented student to free education and provided him with housing. During his studies, Pryanishnikov became close friends with V.G. Perov; in 1857, when Perov was working on the painting “The Arrival of the Stanovoy,” Pryanishnikov posed for him to create the image of the main character; in 1862, young artists spent the summer together in the Trinity-Sergius Lavra.

In 1864, Pryanishnikov was awarded a small silver medal for the painting “Reading a Letter in a Petty Shop.” In the year of graduation from college (1865), for the painting “Jokers. Gostiny Dvor in Moscow" he received a large silver medal and the title of class artist of the 3rd degree. The painting brought the artist wide fame; it was even sent to the International Exhibition in Vienna, but was not exhibited, according to V.V. Stasov, “for fear of showing its ulcers to Europe.”

At the end of 1869, Pryanishnikov took an active part in the creation of the Association of Traveling Art Exhibitions (TPHV); became a founding member of this organization. He exhibited at almost all traveling exhibitions, and from the second traveling exhibition he became a permanent member of the board of the Association.

In his works of the second half of the 1860s - early 1870s, Pryanishnikov turned to the most diverse aspects of Russian life. “For us, Russian genre painters, Moscow is a treasure,” said Pryanishnikov: “Here Gogol, Ostrovsky, Turgenev, and Tolstoy are all gathered together; look and observe our purely Russian life." And he, in line with critical realism, depicted the wretched entertainment of the urban people ("At the Puppet Theater", 1867); the suffering of homeless beggars ("Kaliki Pedestrians", 1870); the backbreaking labor of exhausted female workers (“Seamstress”, 1870) For his last two works in 1870, Pryanishnikov was awarded the title of class artist of the 1st degree.

From the beginning of the 1870s, Pryanishnikov, in accordance with the general trends of Russian painting, moved to an increasingly “multidimensional” depiction of reality. His works began to differ from his earlier ones in greater compositional integrity and color saturation. Pryanishnikov’s painting “Empty”, exhibited at the first traveling exhibition in 1871, brought him new success. According to the unanimous opinion of contemporaries, the painting was recognized as innovative due to the successful combination of landscape and genre motifs. This work was purchased by one of the collectors long before the opening of the exhibition. P. M. Tretyakov, breaking his own rule - not to have repetitions or copies in his collection, ordered the artist to repeat the painting.

In the late 1860s, Pryanishnikov began working on a painting from history Patriotic War 1812 and in 1874 completed the canvas “In 1812”. He executed several versions of this plot; the best (fourth) is now in the Tretyakov Gallery. Kramskoy wrote to Repin admiringly: “Pryanishnikov wrote a good thing - “Prisoned French in 1812.”

In 1871–1872, for the Polytechnic Exhibition in Moscow, Pryanishnikov, together with V. E. Makovsky, G. G. Myasoedov, V. O. Sherwood and other artists, worked on creating a series of paintings dedicated to the defense of Sevastopol in Crimean War; out of ninety-seven stories, Pryanishnikov wrote eighteen - among them: “Transportation of guns”, “Care for the wounded by women in Sevastopol”.

From 1873, almost until the end of his life, he taught at MUZHVZ, his students were, in particular, Arkhipov, Baksheev, Bogdanov-Belsky, Byalynitsky-Birulya, Zhukovsky, Ivanov, Kasatkin, Korin, Korovin, Lebedev, Malyutin, Stepanov and many others.