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The Association of Traveling Art Exhibitions is a key milestone in the development of Russian art. The Peredvizhniki artists became, in a way, a symbol of Russian painting of the 19th century. Having emerged as a reaction to the dead, lifeless art of the Academy of Arts, the Partnership of the Peredvizhniki became the most widespread and influential artistic association in the history of Russia. Never before or after this has the art of Russian artists been so close and understandable to the masses.

The brightest stars of Russian painting - Savrasov, Surikov, Repin, Levitan, Kuindzhi, Polenov, Nesterov, Serov and many others - lit up and shone forever in the ranks of the Wanderers. These masters raised the bar of Russian painting to unprecedented heights. The Association of Traveling Art Exhibitions disbanded in 1923, but during its existence the importance of painting in the life of Russian society reached its culmination. After the bloody events of 1917 and the collapse of the TPHV, the general level of Russian painting went rapidly downward, never again reaching the level that Surikov and Levitan showed us.

The years of activity of the TPHV became the most fertile and exciting for all of our long-suffering Russian painting.

There is no doubt that the emergence of the TPHV society occurred at the very time when it was especially necessary for Russia - both from the point of view of pure art and from the point of view of its social coloring. By the end of the 60s, advanced artists from Moscow and St. Petersburg arrived with some experience in social activities. By this time, they have a firm conviction that the time has come to find a form of association that could ensure the personal independence of the artist from official, government-sponsored institutions and patrons, and make the connections of art with the audience, with the people, closer and more direct. The idea of ​​creating the Association of Traveling Exhibitions promised a lot. The opportunity to acquire an immense popular audience was becoming real. The dream of several generations of artists came true. But for none of the previous generations was it as endlessly attractive as for the generation formed by the general democratic upsurge of the late 50s and early 60s.

As a result of preliminary meetings and correspondence, the initiative group created in Moscow sent a letter on November 23, 1869 to the St. Petersburg Artel. It contained a proposal to unite to organize traveling exhibitions (the word “traveling” came later) and a request to Artel - “if possible, present this project in one of your Thursday meetings, at the general discretion.” The appeal ended with the following lines: “We hope that the idea of ​​​​arranging a moving exhibition will find sympathy and support in you and that you will be so kind as not to leave us without an answer.” Attached to the letter was the Draft Charter, which, apparently, was not drawn up by Myasoedov alone. The draft Charter also contains some comments that make it possible to penetrate through the dry official lines into the essence of the new undertaking. These comments relate, first of all, to the issue of the artist’s creative and material independence, his freedom from superior tutelage. “We consider it absolutely necessary,” the draft says, “the complete independence of the partnership from all other societies promoting art, for which we find it necessary to have a special approved charter, the idea of ​​which will be preserved. Even if the society, due to circumstances, ceased its activities (which God forbid), it can be resumed on ready-made grounds." It must be emphasized that the desire of the future Itinerants for independence, for creative freedom, just like their predecessors, was least of all individualistic in nature. So, Kramskoy, touching on this issue, exclaims in another connection: “... freedom from what? Only, of course, from administrative guardianship... but the artist,” he continues, “needs to learn the highest obedience and dependence on... instincts and needs of his people and the agreement of inner feeling and personal movement with the general movement...". These words very deeply and vividly reveal the true meaning of the struggle of the organizers of the Partnership to create their own independent creative center. The definition of the purpose of the Partnership, given in the first paragraph of the draft Charter, is also clear in its focus: “The founding of the Traveling Exhibition Partnership has the goal of providing the inhabitants of the province with the opportunity to follow the successes of Russian art and Russian painting.” Thus, from the very beginning, the question of a huge expansion of the circle of spectators and the sphere of influence arose with complete clarity for the initiators of the Partnership. Kramskoy, in another connection, having the opportunity to speak out more openly, said that the art of the Itinerants should attract sympathy “in that huge mass of society that is still in a state of sleep.” The letter and the project were actually read out at one of the Artel’s “Thursdays”. The audience greeted them with great enthusiasm. Immediately, many of those present supported the Muscovites’ proposal with their signatures. This remarkable document is now kept in the manuscript department of the State Tretyakov Gallery. All signatures under the text - twenty-three of them - are clearly visible. Almost all of these are the names of artists from both capitals. We present them in full: G. Myasoedov, V. Perov, L. Kamenev, A. Savrasov, V. Sherwood, I. Pryanishnikov, F. Vasiliev, A. Volkov, M. P. Klodt, N. Dmitriev-Orenburgsky, N. Ge, I. Kramskoy, K. Lemokh, K. Trutovsky, N. Sverchkov, A. Grigoriev, F. Zhuravlev, N. Petrov, V. Yakobi, A. Korzukhin, I. Repin, I. Shishkin, A. Popov.

In general, the idea of ​​the Association of Traveling Art Exhibitions had a huge advantage compared to the idea of ​​the Artel: familiarizing wide public circles with art was directly declared as the central, main form of performance. From an organizational point of view, the Partnership also represented a more perfect, more precisely, more appropriate form for its time. The famous Artel of “14 Rebels” and the modest second Artel introduced utopian egalitarian principles into their activities and connected them with the everyday commune. These principles were noble and generous, but unviable in the conditions of Russia, which had embarked on the path of capitalist development. The founders of the Association of Traveling Art Exhibitions did not repeat the mistakes of their predecessors. They also took into account the difficult experience of cooperation with philanthropists and patrons of various types. The goal was set absolutely clear: to create an organization led by the artists themselves - members of the team, united by a common ideological and creative aspirations.

If the Artel was the first attempt in Russian art to create an artistic association independent of official tutelage, then the Partnership realized this idea.

For a long time, tired of the academic monopoly in the fine arts, they strived for independence in creative work. One way or another, the creation of membership of united artists was facilitated by the interest of many artists to really bring art closer to the masses, thereby ensuring their independence from various institutions, patrons and organizations patronized by the government. In 1863, 14 graduate artists, led by I. Kramskoy, refused to paint a graduation picture on the proposed mythological theme of the Feast in Valhalla and demanded to choose the subject of the painting themselves, which they were categorically refused to do, after which many artists defiantly left the academy. The solution was this: it was necessary to form an independent artel of artists similar to communes, a union of Russian artists independent of the academic monopoly. It did not last long and disbanded after 7 years, although by this time in 1870 a new movement had arisen: the Association of Itinerants or the Association of Traveling Art Exhibitions of the TPHV and their movement around the cities of Russia, this is an association of professional artists. The work of the Peredvizhniki brought together many artists in unity and ideological positions, rejection of academicism with its decorative landscapes, fake theatricality and various mythologies. Russian Peredvizhniki artists sought to show the ideological side in their works visual arts which was valued much higher than the aesthetic, setting itself the task of broad propaganda of fine art, the purpose of which was the social and aesthetic education of the masses, bringing democratic art closer to life. To reveal in his paintings the true living life of the oppressed peasantry, suffering from the power of landowners and the rich, this was the main task. Many works by the Peredvizhniki artists were painted from life in the style of genre painting, while other works were written under the imagination of real life. The Russian Itinerants demonstrated with great persuasiveness the existence of a new creative movement at the first exhibition that opened, gradually taking shape since the 60s. This exhibition showcased the paintings of the Wanderers - paintings by many famous artists in all popular genres: portrait, landscape and historical genres. In total, 47 exhibits were exhibited that revolutionized academic ideas about painting; this was the first step in the success of the Wanderers, who showed their paintings in a different dimension. By this time, some changes had occurred at the academy. since the old attitudes gradually became a thing of the past. At that time I.I. Tolstoy, the vice-president of the academy, understanding the whole situation of what was happening, softened his old demands and even gradually began to get closer to the Wanderers, offering them teaching at the academy. Among the guests were such famous artists as Shishkin and Kuindzhi, since landscape painting as an independent genre began to gain momentum and by the age of 90 had greatly strengthened its position. Of course, we should not forget about the positive role of the Academy of Arts as an educational institution, the graduates of which are many famous artists. Famous graduates of the academy were taught by their beloved teacher P. P. Chistyakov. All artists who were members of the TPHV union had equal responsibilities and rights, including newly joined members of the community who were accepted after successful exhibitions. assessed by the jury also had the same rights as those who had previously entered.
Many paintings by the Itinerant artists were bought by the famous philanthropist Pavel Mikhailovich Tretyakov (1832-1898). Tretyakov began collecting paintings in 1856, later this collection of paintings reached the level of a museum collection by 90. Tretyakov himself was sensitive to the painting and art of the Itinerants, respected the hard work of the artists, Almost all of his fortune was invested in paintings by the Wanderers. Subsequently, the entire collection of paintings became the property of Moscow. Nowadays this is the Tretyakov Gallery, famous throughout the world, where Russian painting, graphics and portrait masterpieces of the best famous artists are presented, leaving a bright mark in the history of Russian fine art of the 18th - 19th centuries. The State Tretyakov Gallery still holds an important document in the archive of manuscripts about the creation of members of the partnership, secured by 23 signatures of famous artists.

Famous Peredvizhniki artists

Kramskoy Ivan Nikolaevich (1837 - 1887) Famous painter, one of the main reformers in art, known for his anti-academic activities, advocating for the free development of young artists. Kramskoy is the main founder and founder of TPHV. Without Kramskoy, it is impossible to imagine all those beginnings of artistic culture with its latest transformations, which revealed to the masses the whole truth of life in art. Ivan Kramskoy is a wonderful master of the portrait genre, he painted a number of famous portraits: L. N. Tolstoy, M. E. Saltykov - Shchedrin, Sofia Nikolaevna Kramskoy, Portrait of an unknown beautiful stranger, portrait of Nekrasov, A. D. Litovchenko, I. I. Shishkin and others. His famous painting Christ in the Desert caused a storm of emotions and controversy that did not subside for a long time. In this picture, Kramskoy wanted to show a dramatic situation of moral choice, in which there is no deviation from the chosen path.
Vasily Grigorievich Perov (1834-1882) Perov’s paintings are imbued with genuine tragedy: Old parents at the grave of their son, Troika. His famous paintings: Tea Party in Mytishchi, Arrival of the Chief for Investigation, The Last Tavern at the Outpost. Many of the master’s early works are imbued with a critical, accusatory perception, representing pictorial caricatures in which the clergy are also involved. Beautiful portraits of contemporaries of the famous writers Turgenev, Dostoevsky and Ostrovsky. The Russian artist Peredvizhniki Perov, like no one else, revealed in his works the spirit of ideology and freedom of creative choice.
Alexey Kondratyevich Savrasov (1830-1897) Master of the lyrical Russian landscape, his famous painting The Rooks Arrived, managing to reveal in this painting all the subtle beauty of the Russian landscape, inspired by extraordinary lyricism, which turned upside down all contemporaries’ ideas about their native Russian nature. His other paintings are no less popular: Forest Road, At the Gates of the Monastery, Spring Day. After Savrasov, the Lyrical Landscape gained peak popularity among other artists. I. Levitan spoke about Savrasov like this: Savrasov tried to find those intimate things in the simplest and most ordinary. deeply touching, often sad features that are so strongly felt in our native landscape and have such an irresistible effect on the soul. With Savrasov came lyricism in landscape painting and boundless love for his native land.
Ge Nikolai Nikolaevich 1831-1894 One of the leaders and organizers of the Association of Itinerants, who broke his creativity with the monopoly of academicism. He is a devotee of Russian history, his painting: Peter I interrogating Tsarevich Alexei in Peterhof, brought him tangible success and popularity of his contemporaries. Some of his works were not so successful: Catherine II at the tomb of Elizabeth, A. Pushkin in the village of Mikhailovskoye. Ge was often dissatisfied with many of his works; he did not complete all of them; he simply destroyed the painting Mercy, having difficulty surviving his failures. The painting: Exit from the Last Supper brought him fame, which became one of his best works, exciting his contemporaries with its expressiveness. Paintings such as What is Truth?, Christ and Pilate were criticized by the clergy, for which they were removed from the exhibition. Works The Sanhedrin Court. “Guilty of death!, the Crucifixion, were simply not allowed into exhibitions and were prohibited from display.
Vasnetsov Viktor Mikhailovich 1848-1926 Master - painter, portrait and landscape painter, theater artist. Member of the Wanderers since 1878. One of the first remarkable Russian artists, the work of the artist Vasnetsov was turned to Russian folklore; he created many canvases on the theme of Russian history, folk tales and epics. For some time, Vasnetsov also worked for the theater creating various sets and costumes for plays and fairy tales, which had a huge influence on the development of theatrical and decorative art in Russia. In his famous works, he sought to convey the epic character of Rus', inspired by sincere poetry, imbued with a deeply national perception of his native antiquity. His famous works in this genre: After the massacre of Igor Svyatoslavich with the Polovtsians, the painting Alyonushka, Ivan Tsarevich on a gray wolf, Bogatyrs, Tsar Ivan Vasilyevich the Terrible and many other works. Many of these paintings played a huge role in the development of Russian national painting.
Fyodor Aleksandrovich Vasiliev (1850-1873) The work of this young artist, who lived a small, short life, enriched Russian painting with many landscapes, such as Wet Meadow, Thaw, V Crimean mountains, Swamp in autumn. Vasiliev was able to show in his works the nature of the transition state from bad weather to the sunny state. His favorite motifs in his paintings are God-forsaken country roads, ravines, potholes, dilapidated peasant houses sunk into the ground. Before Vasiliev and Savrasov, Russian artists depicted Swiss, Italian species and native Russian places were considered unworthy of incarnation. Vasiliev managed to reveal in the landscape the state of dull Russian nature, reflecting its true beauty, forcing his contemporaries to admire the beauty of nature never seen before in the village.
Ivan Ivanovich Shishkin (1832-1898) A famous artist, a unique master of forest landscapes, his paintings are known to a very wide public. Shishkin, like no one else, loved the nature of the forest with its colorful shades of tree trunks, bright glades illuminated by the sun and airiness. Shishkin’s famous paintings: Morning in a pine forest, an entertaining genre plot conceived by the artist in the painting, largely contributed to its popularity, the painting Rye, full of emotional balance, where golden rye is eared from edge to edge, guarded by mighty giant pines, A stream in the forest is a beautifully detailed picture, with rich light and shadow contrasts, The Ship Grove, which depicts the Afonasovskaya ship grove located near Elabuga, the work embodies all life experience and the finest knowledge of native nature, which was accumulated by the master over a long creative life. Many of his paintings gained enormous popularity not only among his contemporaries, these The paintings are still known today to a large circle of admirers of his works. No one before Shishkin had told the viewer with such stunning frankness about his love for his native Russian nature. The works of I. I. Shishkin became classics of national Russian landscape painting and gained enormous popularity. Today, images of his landscapes can be seen in many places on various reproductions, gift wrapping, souvenir boxes and even sweets with famous bears, all this speaks of the great love of the people for his great work.
Arkhip Ivanovich Kuindzhi (1841-1910) His canvases depict paintings with a picturesque coloring of colors and light. Rays of light breaking through the fog playing in puddles on muddy roads noticeably emphasize the artist’s skill in conveying some of the picturesque techniques of moonlight, the mysterious light of the moon on a dark night, the bright red reflections of dawn on the walls of Ukrainian huts. The famous painting by Kuindzhi Night attracts with the calm grandeur of nature, the Dnieper in the morning, the painting describes the plot of an early steppe morning, Birch Grove - in this painting the artist showed Russian nature in a hitherto unprecedented method of painting, revealing a sublime image of the landscape, sparkling with unusual coloring and contrast of pure colors. Kuindzhi found his unique, independent path in the art of landscape.
Isaac Ilyich Levitan (1860-1900) A magnificent master of quiet and calm landscapes. Levitan loved his native nature very much, he often retired to it, finding in it an understanding of its beauty, which was reflected in his landscapes. Levitan is not even very good good weather he found his rare colorful shades of Russian bad weather. Glorifying the nature of the Upper Volga, he showed the world his beautiful masterpieces: A gloomy day, After the rain, Above eternal peace, masterfully painted evening landscapes: Golden Autumn, Evening on the Volga, Golden Reach, Evening, Quiet Abode, Evening Ringing. Levitan's paintings require careful thoughtfulness; they cannot be quickly examined without comprehending the entire plan of this famous artist, who left us his unique mark in the art of landscape painting.
Ilya Efimovich Repin (1844-1930) Paintings by the famous artist Ilya Repin are distinguished by their versatility. Repin painted a number of monumental genre paintings that gained enormous popularity among his contemporaries, which made a strong impression on the public. Traveling along the Volga, he wrote many sketches, which he later used to paint his famous painting Barge Haulers on the Volga. After this work, Repin gained stunning fame. Also, the wife of the artist and philanthropist P. M. Tretyakov was quite impressed by the painting. The picture is grandiose in scope and compositional design: a ceremonial meeting of the State Council, in the picture there is a huge number of political figures of that time present, Nicholas II is also present in the picture. in this difficult work, Repin managed to psychologically plausibly describe the characteristics of each character. Ilya Repin left a significant mark on the history of Russian painting.
Vasily Ivanovich Surikov (1848-1916) A wonderful Russian artist, an excellent master of color and coloring of paints and painting techniques, who knew Russian life and customs of past eras very well. In many of his works, Surikov chose tragic fragments of Russian history. Against the background of Surikov’s paintings, remarkable historical works stand out in which he reflected vivid psychological characteristics: Boyarina Morozova, Morning of the Streltsy Execution, Menshikov in Berezovo and the painting Ermak’s Conquest of Siberia. Surikov's paintings are unique to a large extent due to their predominant, picturesque coloring.
Valentin Aleksandrovich Serov (1865-1911) A very fashionable artist of his time, mainly his portraits brought him fame, although he also painted landscapes and paintings based on historical subjects, and sometimes worked as a theater artist. Serov, like no one else, knew what a portrait was and how to draw a portrait; like no one else, Serov masterfully drew with a pencil from life; famous patrons, artists and writers posed for him a lot. His portraits were most noticeable: Girl with Peaches, a picture inspired by a child’s perception of spirituality and tenderness, which enchanted his contemporaries with its rose-golden tones and airiness. A girl illuminated by the sun, the morning sun illuminating the clearing plays in the picture, a young girl sitting in the shade radiating youth and beauty, a portrait of M. N. Akimova and many others.
!The 9th century is the golden age of Russian fine art, which gave birth to a large number of famous Russian artists who left their descendants a rich heritage, the value of which is simply immeasurable. Thanks to the Russian Peredvizhniki, the most famous artists of that time, the paintings of Russian painting help all of humanity to comprehend those ideas about the life of those years and the work of Russian artists who, with great difficulty, achieved the creation of a partnership of traveling art exhibitions.

a term denoting a group of artists who defended the traditions of realism, nationalism and democratic ideals in art, united in the Association of Traveling Art Exhibitions (1 8 7 0 - 1923). Ideological leaders: I. N. Kramskoy and V. V. Stasov. The main representatives are I. E. Repin, V. I. Surikov, V. G. Perov, V. M. Vasnetsov, I. I. Levitan, I. I. Shishkin and others.

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Wanderers

Russian realist artists who were members of a democratic exhibition association - the Association of Traveling Art Exhibitions (TPHV) and who contrasted their creative principles with academicism. The purpose of the association, organized in 1870 on the initiative of G. G. Myasoedov, V. G. Perov, I. N. Kramskoy, N. N. Ge and others, was to “liberate art from the bureaucratic regime”, to develop the revealing tendencies of painting 1860s, to awaken the “social conscience” and at the same time show a positive image of a contemporary, to provide moral guidelines for society. In November 1870, the Charter of the Partnership was approved, which proclaimed realism, nationality (the expression of the interests of the largest part of society), and the identification of the spiritual foundations of Russian culture as the main principles of artists' creativity. The first exhibition took place in 1871 in St. Petersburg, from where the paintings were sent for display to other cities. For the first time, TPHV began to organize “traveling” exhibitions, presenting its works to the public not only in St. Petersburg and Moscow, but also in Kyiv, Kharkov, Odessa, Kazan and other cities. The association existed until 1923, when the last, 48th exhibition was organized, but the heyday of the art of the Wanderers occurred in the 1870s and 80s.

The fee for visiting the exhibition was divided among the association's participants, and part of the proceeds was kept in the general fund. This made it possible to support financially needy members of the TPHV, helping them to focus entirely on creativity. In addition, each artist could count on selling his works at traveling exhibitions. The commercial success of TPHV was the key to the creative independence of its participants. The Partnership did not restrict access to its ranks, which would be contrary to its democratic platform. However, the openness of the association to new participants led to the end. 1880s there were many weak artists in its ranks, and the lack of fresh ideas led to some stagnation, a “shredding” of subjects, and repetition of previous motifs. In the 1890s. many prominent members of the Partnership (I. E. Repin, V. E. Makovsky, I. I. Shishkin, etc.) became part of the St. Petersburg Academy of Arts.

The creative method of the Itinerants was critical realism, the desire to embody the “truth of life.” Any fiction, idealization, or embellishment was considered a manifestation of academic “lies.” Thanks to the creativity of the Peredvizhniki, art becomes a public platform in Russia; artists address acute social and ethical problems and solve educational problems. The Peredvizhniki thought of their pursuit of art as a high mission of public service. Their paintings are addressed to a caring, thoughtful and empathetic viewer.

A staunch promoter of the work of the Wanderers was the critic V.V. Stasov, who proclaimed the importance of creating a “choral” picture, where the main character is the people, depicted in all their diversity of types (“Religious procession in the Kursk province” by I.E. Repin, 1880–83). An important role in the development of the Peredvizhniki movement was played by the collecting activities of the merchant and philanthropist P. M. Tretyakov, the founder of the gallery of Russian art, who managed to become not only a buyer of paintings by TPHV participants, but also a true friend and inspirer of many artists.

Along with the dominant in the 1860s. Portrait and landscape are developing as everyday genres in the works of the Itinerants. The main object of artistic comprehension becomes the peasantry and people from the lower classes, who appear not only as victims of social injustice, but also as the embodiment of beauty and strength. Artists paint everyday scenes from village life (V. M. Maksimov. “The Arrival of a Sorcerer at a Peasant Wedding,” 1875; G. G. Myasoedov. “Time of Passion,” 1887; I. M. Pryanishnikov. “Empty,” 1872); portraits of peasants, recreating bright and integral folk types (V. G. Perov. “The Wanderer”, 1870; I. N. Kramskoy. “Polesovschik”, 1874, “Mina Moiseev”, 1883; I. E. Repin. “A peasant from timid", 1878); landscapes imbued with love for the discreet beauty of Russian nature (A.K. Savrasov, F.A. Vasiliev, I.I. Shishkin, A.I. Kuindzhi, etc.). The landscapes of the Wanderers are characterized by narrative (“ Pinery"I. I. Shishkin, 1872), love for depicting transitional states in nature (the first signs of the coming spring in A. K. Savrasov’s painting “The Rooks Have Arrived,” 1871; the earth washed by a thunderstorm in “Wet Meadow” by F. A. Vasilyeva, 1872). In many landscapes there is a note of aching sadness, the pain of artists who feel the discord between the beauty of their native land and the grief with which it is filled. In historical paintings, the Wanderers sought to convincingly recreate ancient life, costumes, architecture, to make the depicted event “tangible” for the viewer, to immerse him in the atmosphere of a past era (N. N. Ge. “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof,” 1871). The monumental paintings of V. I. Surikov (“Morning of the Streltsy Execution”, 1881; “Boyaryna Morozova”, 1887) represent turning points in Russian history, when the most essential features of the national character are revealed in the confrontation of various forces.

A prominent place in the traveling exhibitions was occupied by portraits of Russian cultural figures, who were perceived by society as “masters of thoughts,” selfless prophets, preachers of high truths, appealing to souls and hearts. Gallery of "faces" dear nation"was created largely thanks to the purposeful activities of P. M. Tretyakov, who ordered portraits from artists V. G. Perov (portraits of A. N. Ostrovsky, 1871; F. M. Dostoevsky, V. I. Dahl; I. S. Turgenev; all - 1872), I. N. Kramskoy (portraits of T. G. Shevchenko, M. M. Antokolsky, F. A. Vasilyev; all - 1871; L. N. Tolstoy, 1873; I. A. Goncharov, 1874; N. A. Nekrasova, 1877; M. E. Saltykova-Shchedrina, 1879), I. E. Repin (portraits of I. S. Turgenev, 1876; I. E. Zabelina, 1877) and others. N. A. Yaroshenko created type portraits (“Student”, 1881; “Student”, 1883).

An important place in the work of many Itinerants was occupied by gospel stories, experienced with confessional frankness and depth. Kramskoy (“Christ in the Desert,” 1872), Ge (“What is Truth?”, 1890) and other artists sought not to create illustrations of the Holy Scriptures, but to approach the resolution of pressing moral and philosophical issues. V. M. Vasnetsov turned in his work to images of Russian folklore. In the 1880–90s. the color palette in the paintings of many Itinerants becomes brighter and lighter, the style of painting is freer, the compositional techniques are more diverse (I. E. Repin, V. I. Surikov, M. V. Nesterov, I. I. Levitan, V. A. Serov and etc.).

Material from Uncyclopedia

The Association of Traveling Art Exhibitions (TPHV) was founded in 1870. The first exhibition opened in 1871. This event had its own background. In 1863, the so-called “revolt of 14” took place at the St. Petersburg Academy of Arts. A group of Academy graduates, led by I. N. Kramskoy, protested against the tradition according to which the competition program limited the freedom to choose the theme of a work. The demands of young artists expressed a desire to turn art to problems modern life. Having received a refusal from the Academy Council, the group defiantly left the Academy and organized an Artel of Artists similar to the workers’ commune described in N. G. Chernyshevsky’s novel “What is to be done?” So advanced Russian art freed from the official tutelage of the court Academy.

By the beginning of the 1870s. democratic art has firmly conquered the public platform. It has its own theorists and critics in the person of I. N. Kramskoy and V. V. Stasov, and is supported financially by P. M. Tretyakov, who at this time mainly acquired works of the new realistic school (see Tretyakov Gallery). Finally, it has its own exhibition organization - TPHV. The new art thus received a wider audience, which was mainly made up of commoners. The aesthetic views of the Itinerants were formed in the previous decade in the context of public debate about the ways of further development of Russia, generated by dissatisfaction with the reforms of the 1860s.

The idea of ​​the tasks of the art of the future Peredvizhniki was formed under the influence of the aesthetics of N. G. Chernyshevsky, who declared that a worthy subject of art was “what is of general interest in life,” which was understood by the artists of the new school as a requirement for cutting-edge and topical themes.

The heyday of the TPHV activity was the 1870s - early 1890s. The program of national art put forward by the Itinerants was expressed in the artistic exploration of various aspects of folk life - in the depiction of typical events of this life, often with a critical tendency (“Zemstvo is dining” by G. G. Myasoedov, 1872, Tretyakov Gallery; “Meeting of an Icon” by K. A. Savitsky, 1878, Tretyakov Gallery).

However, characteristic of the art of the 1860s. Critical pathos and focus on manifestations of social evil give way in the paintings of the Itinerants to a broader coverage of people's life, aimed at its positive aspects. The Wanderers show not only poverty, but also the beauty of people’s life (“The Arrival of a Sorcerer at a Peasant Wedding” by V. M. Maksimov, 1875, Tretyakov Gallery), not only suffering, but also perseverance in the face of life’s adversities, courage and strength of character (“Barge Haulers on Volga" by I. E. Repin, 1870-1873, Russian Russian Museum), the wealth and greatness of native nature (works by A. K. Savrasov, A. I. Kuindzhi, I. I. Levitan, I. I. Shishkin), heroic pages national history(the work of V. I. Surikov) and the revolutionary liberation movement (“Arrest of a propagandist”, “Refusal of Confession” by I. E. Repin). The desire to more broadly cover various aspects of social life, to identify the complex interweaving of positive and negative phenomena of reality, attracted the Itinerants to enrich the genre repertoire of painting: along with the everyday painting that dominated the previous decade, in the 1870s. The role of portraits and landscapes, and later of historical painting, increases significantly. The consequence of this process was the interaction of genres - the role of the landscape in everyday painting is strengthened, the development of the portrait enriches everyday painting with the depth of character depiction, at the junction of portrait and everyday painting, such an original phenomenon as a social and everyday portrait arises ("Forest Man" by I. N. Kramskoy; " Fireman" and "Student". N. A. Yaroshenko). Developing individual genres, the Wanderers, as an ideal to which art should strive, thought of unity, a synthesis of all genre components in the form of a “choral picture”, where the main character would be the mass of the people. This synthesis was fully realized already in the 1880s. I. E. Repin and V. I. Surikov, whose work represents the pinnacle of peredvizhniki realism.

A special line in the art of the Itinerants is the work of N. N. Ge and I. N. Kramskoy, who resorted to the allegorical form of gospel stories to express complex issues of our time (“Christ in the Desert” by I. N. Kramskoy, 1872, Tretyakov Gallery; “What is truth ?, 1890, Tretyakov Gallery and paintings of the gospel cycle by N. N. Ge of the 1890s). Active participants in traveling exhibitions were V. E. Makovsky, N. A. Yaroshenko, V. D. Polenov.

Remaining true to the basic precepts of the Peredvizhniki movement, participants of the TPHV from a new generation of masters are expanding the range of themes and subjects designed to reflect the changes that took place in the traditional way of Russian life at the turn of the 19th and 20th centuries. Such are the paintings by S. A. Korovin (“On the World,” 1893, Tretyakov Gallery), S. V. Ivanov (“On the Road. Death of a Migrant,” 1889, Tretyakov Gallery), A. E. Arkhipov, N. A. Kasatkina and others It is natural that it was in the works of the younger Wanderers that the events and moods associated with the offensive were reflected. new era class battles on the eve of the revolution of 1905 (painting “Execution” by S. V. Ivanov, 1905, Museum of the USSR Revolution). Russian painting owes the discovery of themes related to the work and life of the working class to N. A. Kasatkin (the painting “Coal Miners. Shift”, 1895, Tretyakov Gallery).

The development of the traditions of Peredvizhniki occurs already in Soviet times - in the activities of artists of the Association of Artists of Revolutionary Russia (AHRR). The last, 48th exhibition of the TPHV took place in 1923.