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"Pavel Andreevich Fedotov"- a presentation that will acquaint with the work of a Russian artist, who can be called the first among the artists of the mid-forties of the XIX century, belonging to the natural school, striving to reflect the truth of life.

Pavel Andreevich Fedotov "Gogol of Russian Painting"

“Pavel Fedotov's paintings represent scenes from life in which the tragic essence of the situation is hidden under the mask of the ordinary. They can be called moral sermons, the task of which is to correct people "

“Fedotov was the forerunner of critical realism in Russian genre painting. This analytical method, revealing the contradictions of the surrounding world, was to become dominant in Russian art of the second half of the 19th century. "
L.G. Emohonova

Pavel Fedotov's painting

First paintings "Fresh Cavalier" and "The Choosy Bride" Fedotov showed Karl Bryullov. The Great Karl gave the artist some advice. Most likely Fedotov listened to these advice, since the picture "Major's matchmaking", shown at the academic exhibition in 1849, made a splash. It was difficult to approach her because of the crowd of enthusiastic audience. For this work (not without the assistance of Bryullov) Pavel Fedotov received the title of Academician of Painting.

Fedotov's painting is called "porcelain" for the thoroughness of the glazing and the masterful transfer of the texture and texture of the materials depicted. Try using a magnifying glass and see at high magnification the material from which the furniture, clothing fabrics, and lamps on the artist's canvases are made. Fedotov treated the creation of each painting, as did the medieval masters to the creation of their masterpiece.

Creativity and the fate of the artist

Born into a family of a retired military man who graduated with honors from the First Moscow Cadet Corps, Pavel Fedotov served ten years in St. Petersburg in the Life Guards Grenadier Regiment and, despite the lack of sufficient means of subsistence, risked retirement in order to devote himself entirely to art.

Fedotov began with portraits of his comrades in arms. The first works were written using graphic materials: watercolors, pencils, sepia tone. These works were often instructive in nature, presenting caricatures, witty sketches "Everyday life".

“There is not much of my work in the workshop: only a tenth. My main work is on the streets and in other people's houses. I learn by life, I work, looking in both eyes; my plots are scattered throughout the city, and I myself have to look for them "
Pavel Fedotov

Interestingly, in portraits the artist's irony gave way to a light, contemplative lyricism.

“With his last paintings Fedotov signs a verdict on an evil world that is destroying all living things. He also ruins Fedotov ... The artist ends his journey at the thirty-seventh year of his life, ends tragically - in a mad house "
D.V. Sarabyanov

The last paintings of Pavel Fedotov

“Together with the great Gogol, the artist represented Russian realism at that stage when the critical and tragic beginning organically merged with the poetic. It is not for nothing that contemporaries and descendants compared Fedotov with Gogol "
D.V. Sarabyanov

Pavel Fedotov
Andreevich Russian officer and
artist

Pavel Fedotov
Andreevich -
highly talented
draftsman and painter,
forefather
humorous genre in
Russian painting, son
a very poor official
former warrior
Catherine's times.
Self-portrait. P.A. Fedotov

From the artist's biography

Pavel Andreevich was born in Moscow 22
June 1815 on one of the outskirts
Moscow in Ogorodniki in the family
titular counselor. The artist's father,
dreamed of a military career for his son. On the
Pavlusha remembered all his life stories
father, a former Suvorov soldier, oh
campaigns and battles.
Eleven years old
Pavel Fedotov was assigned to
pupils of the First Moscow Cadet Corps.
The main facade of the Cadet Corps
Catherine Palace in
Lefortovo. Antonio Rinaldi.
P.A. Fedotov
Father's portrait

From the history of the cadet corps of Russia

Under Nicholas I,
the most slender and rational
cadet device system
Nicholas I
buildings and their management.
In 1824 in the Catherine barracks in Moscow
accommodates arrived from Yaroslavl Smolensk
cadet corps. Then the building
renamed to 1st Moscow Cadet
corps, which was classified as military training
first class establishments.

In 1830 it was made
non-commissioned officer, in 1833
made in sergeant major and
in 1833 he finished the course first
student, and his name, according to
instituted
custom, included in the honorary
marble board in assembly
hall of the building.
P.A. Fedotov graduated from the corps
in the rank of lieutenant and received
the most prestigious
appointment: in the Life Guards
Finnish regiment, in St. Petersburg.
Cadet Fedotov.
portrait of Stromilov.
1828

FROM THE HISTORY
FINLAND LABEL GUARD
A SHELF
Barracks complex
FINLAND LABEL GUARD
A SHELF
Finnish Life Guards Regiment,
was formed in December 1806.
in Strelna and Peterhof as
Imperial Militia Battalion,
and already in 1808. ranked among the guards.
In October 1811. it was reorganized into three battalions and named
Life Guards Regiment. V
Russian army disintegrated into
army and guards corps.
The Guard is a select part of the army, using some of the service
advantages over army regiments.
Service in the guard could provide Fedotov with a career,
success and money for life.

Fedotov - officer

Fedotov officer
The regimental began
a life. In the first months
Fedorov was carried away by life
guards officers
- feasts, cards, funny
songs. But it took a little
time, novelty
has lost its charm.
Increasingly behind the external
by the glitter of the parades he saw
empty, thoughtless life
guards officer.
Family portrait

In the watercolor and oil portraits of fellow soldiers, the military is deprived of the usual for that time romantic halo of a heroic personality. Comrades

"Fedotov and his comrades in the Life Guards
Finnish regiment "
Many sketches of Fedotov
made of a soldier's life.
He drew cartoons and
portraits of friends, scenes from
regimental life.
In watercolor and oil portraits
military fellow soldiers are deprived of the usual
for that time of a romantic halo
heroic personality. Shelf comrades
appear before the audience casually,
without any posture, they are modest and intelligent, the artist treats
to their heroes, but soberly and objectively.

Meeting at the Finnish Life Guards camp
regiment of Grand Duke Mikhail Pavlovich
July 8, 1837
1838. State Russian Museum, St. Petersburg

Academy of Arts. Saint Petersburg.

Hermitage. Neva embankment
Three to four years later
service in the regiment, young
the officer began to visit
evening drawing
Academy classes
Arts, on the Embankment
Not you. There he tried
study forms more rigorously
human body and
make your hand more
free and obedient in
transmission visible
nature.
Often Fedotov as a student
Attended academies
Hermitage.

Peasant world A.G. Venetsianov

"Threshing floor"
“At the harvest. Summer"
Self-portrait
"Shepherd with a pipe"
“On arable land. Spring".
"Shepherd boy"

K. P. Bryullov

Fedotov was greatly impressed by the painting
Bryullov's "The Last Day of Pompeii." She was exposed
at the Academy of Arts. And in 1840 Fedotov was allowed
was to become a student of Bryullov. But a student of Bryullov
Fedotov never did: he still did not believe in his talent.
Self-portrait
"Last day
Pompeii"

Fedotov - painter

Free time became everything
less, more and more crept into the soul
doubt: maybe he never will
a real artist?
Feeling an irresistible attraction to
art and taking the advice of I.A.Krylov
(who was one of his favorites
writers), he retired in 1844.
First, while studying with A.I. Sauerweid, Fedotov
thought to devote himself to battle painting.
A genius old man who saw some
from the works of Fedotov, urged him to leave
soldiers and horses and do
exclusively a household genre.
So Fedotov did it.
I. A. Krylov.

Fedotov's canvases

The artist almost hopelessly locked himself in his workshop, doubled his work on studying
painting techniques and by the spring of 1848 he wrote one after another, according to those already available in his
sketchbook album, two paintings: "Fresh Cavalier" and "Choosy Bride". Being
shown to K. Bryullov, the all-powerful then at the Academy of Arts, they brought him to
Delight; thanks to him, and even more to their merits, they delivered Fedotov
from the academy the title of appointed academician.
So as not to end alone
century,
Beauty so far completely
did not bloom,
For the first. who to her
grabbed, went:
And I’m glad, I’m glad that
married a cripple.
I.A. Krylov
"The Choosy Bride"
The Choosy Bride.

"Major's matchmaking"

"Major's matchmaking"
Main piece
Fedotova -
"Major's matchmaking"
(1848) depicting
the scene of the reception of the officer's groom by the merchant
family. Here
spotted one of
characteristic phenomena
Russian life of the 40s -
part aspiration
merchants climb
public ladder
one step higher and with
the other hand, desire
many representatives
going bankrupt
nobility
improve your affairs
profitable marriage.
"The Major's Courtship" (1848),

"Breakfast of an aristocrat"

…Morning. In a richly decorated room
a young master is having breakfast. For breakfast at
him - a piece of black bread, and next to
chair - an advertisement for the sale of oysters.
Of course, he would rather eat oysters, but
no money, and he stuffed his mouth with black bread.
Suddenly a poodle smelled a guest -
"Aristocratic dog" who
it was customary to keep them in secular houses.
The guest is still outside the door, but his hand is visible in
gloved holding the curtain. Have
young man's face frightened: looking at
door, he covers the bread with a book.
Who is this young man? Empty
a bum, for whom the most important thing is
life - to be known as a rich gentleman, to shine
in the light, be dressed up to the last
French fashion. He usually lives in
debt, at someone else's expense.

"Widow"

Working on this painting,
Fedotov thought about the younger
sister Lyubochka. She died
husband is an officer and nothing else
debts, she did not leave. What
awaiting her in the future?
Hunger, poverty, bitter
the fate of a Russian woman -
an officer's widow. There she is
standing by the dresser, her face
sad, pensive and
submissive. May be,
she buried yesterday
husband, and today in the house
creditors came. How
live?

"Anchor, another anchor!"

Small, as always with Fedotov,
unfinished canvas
"Anchor, another anchor!" is
to the viewer the everyday life of the Nikolayevskaya officer
army serving in some remote corner of Russia.
Meaninglessness and aimlessness
the existence of this person,
killing every living thing in him
feeling - this is the theme of the picture,
condemning the destructive influence,
which rendered on a person
the system of the Nikolaev military clique,
so familiar to Fedotov from
my own experience.
Relaxed reclining posture
prone on the officer's bench, the red, feverish light of a lonely candle creates
a feeling of hopeless loneliness and emptiness of existence.

"Fresh Cavalier"

The first significant
Fedotov's work was
small painting "Fresh
cavalier "(1846; Tretyakov Gallery) -
satirical image
complete moral and
spiritual insignificance
bureaucratic world
Petersburg and Moscow 40s.
Presented here
lively squabble
between an official, only
what got out of bed
after the feast, and his
cheeky young cook
a woman. In all guise
this sleepy, sloppy
wearing a torn robe
person with
freshly received order
on the chest - indescribable
a mixture of swagger and
limitations.

Alexander Ivanovich Kuprin
There is an old old proverb in the world:
"Tell me who you are with
familiar and I'll tell you who you are
such is ".
With the same meaning
you can probably say:
“Show me your home,
and I will define yours
habits, yours
character".

The artist very often writes and paints himself: here he is a young, brilliant guardsman in full dress; here he is playing cards with the regimental comrades;

The artist writes and draws very often
himself: here he is a young brilliant guardsman in
full dress uniform; here he is playing cards with
regimental comrades; here he writes
portrait of the little dog Fidelka; his portrait
depicted on the dresser next to the widow ... And
every time he portrays himself, he seems to
laughs at himself, then good-naturedly, slyly,
it's sad.

The last self-portrait of the artist.
This is the last self-portrait
Fedotova - gloomy and
hopeless, artist's eyes
restless, alert,
sick. “... I saw myself in
terrible hopelessness,
lost, felt some
delirium every minute "- so he wrote
then in an unsent letter
Yulenka Tarnovskaya.
Permanent poverty, perennial
overwork, nervous
stress and crash
beautiful illusions
affected in a fatal way.
In the spring of 1852 at Fedotov
showed signs
mental disorder.
On November 14, the artist died.

Conclusion:

The name of this artist is well known
lovers of painting. Mostly known
in his humorous-sarcastic
pictures. It is no coincidence that Fedotov was called
"Gogol in Russian painting", and his
creative credo "picturesque anecdote".
His life, like most painters

Bibliography

1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Fedotov: Album / Avt-comp. E. D. Kuznetsov. - M .: Image. art,
1990 .-- 64 p.
BECM - big computer encyclopedia of Cyril and Methodius
Danilova G.I. World art culture: from the 17th century to
modernity. Profile level: textbook. For 11 cells ..- M .: Bustard.
2006.
Karpova T. Pavel Fedotov: scenes from ordinary life.
// "Peasant" .- 1997.-№4
Sher N.S. Stories about Russian artists. M .: Det. Lit. - 1966.- P.752
Beloshapkina Y. Anchor, another anchor! // Art.- №13.-2009.
Beloshapkina Y. Breakfast of an aristocrat // Art.- №13.-2009.
Beloshapkina Y. Pavel Fedotov // Art.- №13.-2009.
Beloshapkina Y. Fresh cavalier // Art.- №13.-2009.
Beloshapkina Y. Matchmaking of the Major // Art.- №13.-2009.

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Presentation on the topic: P. A. Fedotov (1815-1852)

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A selection of the most outstanding works of painting by the realist artist Pavel Andreevich Fedotov. Realism is a trend in art, characterized by the image of social, psychological, economic and other phenomena that are most consistent with reality. In the field of artistic activity, the meaning of realism is very complex and contradictory. Its boundaries are changeable and indefinite; stylistically it is multifaceted and multivariate. Within the framework of the direction, new genres are formed - everyday picture, landscape, still life, portrait in the genre of realism. The term "realism" was first used by J. Chanfleury to denote art opposed to romanticism and symbolism. The birth of realism is most often associated with the work of the French artist Gustave Courbet (1819-1877), who opened his personal exhibition "The Pavilion of Realism" in Paris in 1855.

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Pavel Andreevich Fedotov is an outstanding Russian painter and draftsman. He was born in Moscow on June 22, 1815, in the Kharitoniya parish in Ogorodniki. His father had a small wooden house; he was a poor man, the family was large, and the children, including Pavlusha, grew up without much supervision. At the age of eleven he was sent to the cadet corps. The boy's abilities were brilliant, his memory was extraordinary, and the authorities could only be embarrassed by the fact that in the margins of Fedotov's study books there was a whole collection of portraits of teachers and warders, and in addition in a caricature form. Having started his military service as a warrant officer of the Life Guards Grenadier Finnish Regiment in St. Petersburg, Fedotov is engaged in music, translations from German, writes epigrams for his comrades, draws caricatures on them. He did not have any funds, in his free time from the service he took up caricatures and portraits, which were extremely successful and attracted the attention of connoisseurs. After much persuasion, he even decided to leave the service and retired with a pension of 28 rubles 60 kopecks a month. He had no right to this pension: it was assigned to him only by the special grace of Tsar Nikolai Pavlovich, who appreciated his talent and assumed that he would make a good battle painter. Fedotov moved to Vasilievsky Island, rented a small room from the hostess and entered the Academy. K. Brullov had a great influence on him. In academic classes, under the guidance of Professor Sauerweid, who also apparently doubted his talent, he studied battle painting. At home, he portrayed the most mundane genres, illuminated by the author's most good-natured humor. Ivan Andreevich Krylov, seeing Fedotov's sketches, wrote him a letter in which he advised him to stop working in the genre of battles and move on to depicting everyday life. Fedotov believed the fabulist and left the Academy. In 1847 he painted the first picture, which he decided to present to the court of professors. This picture was called "Fresh Cavalier". Another picture "The Choosy Bride" was written on the text of the famous fable of Krylov. In these works, even such ardent admirers of monumental painting as Bryullov could not fail to recognize the true talent, and advised Fedotov to continue his studies in the same direction. At the 1849 exhibition, both these two paintings and a new, much more perfect one - "The Major's Matchmaking" appeared for the first time. For the last painting, the artist was awarded the title of academician. The audience stood in front of these paintings with undisguised surprise and delight: it was a new revelation, a new world opened by the artist. Until now, Russian life, as it is, in all its real frankness, has not yet appeared in painting. She brought the artist and material well-being, but, unfortunately, fate came too late to the artist's aid. He dreamed of going to London and studying with the local genre painters, but the disease was already nesting in him and undermining his health. A tense nervous life and unhappy falling in love contributed to the development of a serious mental illness in him. In the spring of 1852 he conceived a new painting "The Return of the Schoolgirl to the Parental Home". But the artist became more and more abnormal and needed strict supervision. He had to be placed in an asylum for the mentally ill, and there he ended his sad existence. He was buried on November 18, 1852. After Fedotov, there are not many paintings left.

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"The Choosy Bride" in 1847 P.A. Fedotov took the famous Krylov's fable "The Choosy Bride" about the fastidious beauty who refused all applicants year after year, until she suddenly realized: "The beauty, until it completely faded, For the first who I grabbed her, went, And I was glad, I was already glad, That I had married a cripple. ”The decisive moment was chosen, which made it possible to understand everything - and the fate of people explaining to each other, and the essence of the explanation itself, and the fact that after this The characters are actually living through such an important situation for them, completely surrendering to their feelings. The things around are strictly selected, and none of them seems superfluous: both the top hat with the gloves put in it, overturned by the Bridegroom when he briskly threw himself at the Bride's feet, and the furnishings.

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"The Choosy Bride" 1847 Tretyakov Gallery, Moscow

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"Fresh Cavalier" 1848 Morning of the official who received the first cross and represented the official who barely came to his senses after the feast given to him on the occasion of receiving the order. The official himself is depicted in a wretched robe, with his head curled in papillotes, barefoot and arguing with the cook, who shows him the rushing soles of his boots. One of yesterday's guests is visible under the table, sleepily watching the home scene.

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"Fresh Cavalier" 1848 Tretyakov Gallery, Moscow

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"The Courtship of a Major" 1848 This painting is a highly artistic image from Moscow merchant life. The center of the picture is occupied by the bride, dressed in a wide muslin dress of the 1840s, who rushed out of the room when she heard that the groom had arrived. Mother, dressed like a merchant, in a silk warrior, caught her by her dress; the old man father hastily wrapped his Siberian coat; housekeeper, nanny and maid bustle around the diner table. A matchmaker in a silk shugai, with an inevitable handkerchief in hand, stands at the door, announcing the groom. The groom himself is visible through the open door: this is a gallant mustachioed major, in which one can partly catch the facial features of the artist himself. Only the kitten remains indifferent to the general commotion, occupying the very foreground of the picture and carelessly washing himself on the parquet floor of the merchant's drawing room.

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"The Major's Courtship" 1848 Tretyakov Gallery, Moscow

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"All cholera is to blame!" 1848 Fedotov spent a long time with the plot "All cholera is to blame", sketched in hot pursuit of the recent sad events, which have not yet lost some of their poignancy. However, this plot was conceived in a rather ironic spirit: a small home feast, one guest fell out of his chair, having sipped in drinks, and there was fuss around him: a woman rubs his chest with a brush, the owner stretches with a glass of tea, a hot, almost before the fight, the dispute about the necessary means, and the victim lies in a layer, arms outstretched, - serious mixed with the comic. “As the evil one in sins Our brother reproaches So, when cholera walks in the city All she is to blame All cholera. So otherSomething to taste will not endure - it will be so hard, That in a healthy season Digest your stomach in good time. So sometimes having forgotten fear At friends' feasts They will drink one wine Half a dozen per brother You look bad who's the fault All cholera is to blame "

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"The Woman of Fashion" ("Lioness") 1849 The picture shows a secular lady standing in the middle of the living room in a "fashionable" pose. She is smartly dressed, which cannot be said about her husband. There is a thin cigarette in her mouth, all her thoughts are occupied with only one thing - fashion, clothing, outer gloss. In the midst of domestic collapse, dirt and dullness, it all looks very ironic. “Before I was a lady And I had a reputation for about, I went to the market with a chef, I salted cucumbers, mushrooms And took care of cinders. I took a walk abroad. Yes, I lived in Paris - I returned as a lioness. "

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"Breakfast of an aristocrat" 1851 After the success of the picture "The Major's Courtship", Fedotov, going through his sketches, decided to dwell on the theme suggested by the feuilleton. The situation presented in the picture is not ugly in itself, not ugly. The plot, as always with Fedotov, reads quite clearly: an impoverished aristocrat sits in a luxurious ostentatious interior. Hearing the guest's footsteps, he hides the piece of bread that makes up his entire breakfast. We do not see the guest, but only the floor of his coat and a gloved hand pushing the curtain aside. The noise in the hallway caught the "aristocrat" by surprise and he is in a hurry trying to cover up the evidence with a book. Before us is one of Fedotov's favorite themes - lies, cheating, hidden behind visible well-being. The magnificently painted interior with the established beauty of the objects that inhabit it is opposed to the world of deception into which the hero is plunged. This juxtaposition contains a moral sense. Fedotov gave him a shade of comic, not without reason he remembered in connection with the picture a wise popular saying: "there is silk on the belly, but there is a crack in the belly."

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"The Widow" 1851 "The Widow" is marked by a special, deliberate simplicity. There is only one figure in the picture and there is no action. In a semi-dark, unpretentious room, a young pregnant woman in a black mourning dress stands, leaning her elbows on a chest of drawers. An expression of deep sadness and thought was frozen on her face. On the chest of drawers, next to the icon, there is a portrait of a young officer in a hussar's uniform - the deceased husband of a widow. In a dark corner of the room, near the bed, a candle is burning, forgotten since the night; she illuminates a basket in which a few things still belonging to a young woman are somehow stacked; the furniture is no longer hers - it is described, and government seals are hung on it. The husband left behind only debts, creditors described the property, and the widow will have to leave that cozy little world in which until recently she was the mistress. A bleak future opens up before her. Fedotov's scene is marked by the same effortless naturalness that characterizes his satirical paintings. In the appearance of the widow there is nothing ostentatious, nothing deliberate, no pose; it contains the same unvarnished truth of life, which is the very essence of Fedotov's painting.

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"The Players" 1852 In the painting Fedotov tried to portray what is happening from the point of view of the lost hero, to whom his partners seem to be terrible phantoms. The players were together for several hours, spent in mutual deception, rivalry and struggle. But then what should have happened has happened. The winners, with their heavy heads, stiff lower backs and aching joints, ended up in one world, while the loser, with a feeling of complete despair that seized him, was in another. Light, space and movement divided them in the picture. He is calm and motionless. They wriggle and move. Broken and overthrown, he froze, one hand continues to squeeze a glass of wine. The loser is almost ridiculous: a half-smoked cigarette stupidly sticks out of his mouth, he looks like a madman and, apparently, is close to that. The players are faceless, lifeless. They have no feeling, nothing human. Only baseness and devastated souls.

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Fedotov Pavel Andreevich, an outstanding Russian painter and draftsman. Born in Moscow on June 22, 1815, in the Kharitoniya parish in Ogorodniki. His father had a small wooden house; he was a poor man, and his family was large, and the children, including Paul, grew up without much supervision. The morals of the street where the Fedotovs lived were the most patriarchal that existed for a long time on the outskirts of Zamoskvorechye: all the neighbors along the street lived as one family, and the younger generation spent whole days in the hayloft in the summer and in the yard in the sled in winter. Self-portrait

Pavel Fedotov later talked about how everything depicted in his paintings is the fruit of his youthful observations in Ogorodniki and all the types that occupy him are a purely Moscow product. At the age of eleven he was sent to the cadet corps. The boy's abilities were brilliant, his memory was extraordinary, and the authorities could only be embarrassed by the fact that in the margins of Fedotov's study books there was a whole collection of portraits of teachers and warders, and in addition in a caricature form. Capitalists

Gentlemen! Get married - it will come in handy! 1840 Having begun his military service as a warrant officer of the Life Guards Grenadier Regiment of Finland in St. Petersburg, Fedotov is engaged in music, translations from German, writes epigrams for friends and comrades, draws caricatures on them. In his spare time from the service, he took up caricatures and portraits, which were extremely successful and attracted the attention of connoisseurs.

Bivouac of the Life Guards Grenadier Regiment, 1843 After much persuasion, the aspiring artist decided to leave the service and retired with a pension. He had no right to this pension: it was assigned to him only by the special favor of Tsar Nikolai Pavlovich, who appreciated his talent and assumed that he would make a good battle painter.

Mousetrap Fedotov moved to Vasilievsky Island, rented a small room from the hostess and entered the Academy of Arts. From early in the morning, the young painter sat down at his sketches and studies, wrapping himself from the cold in a sheepskin coat worn over a dressing gown, and only in the hotly heated classrooms of the Academy did he warm up from homework.

Christenings In academic classes, under the guidance of Professor Sauerweid, who also apparently doubted his talent, he studied battle painting. The professor demanded a routine layout, that slenderness and refinement in the image of the soldiers, which was demanded by their superiors at the May parades. Fedotov did not like all this, and at home he took his heart out, depicting the most ordinary genres, illuminated by the author's most good-natured humor.

What Bryullov did not understand and All cholera is to blame! 1848 Sauerweid, Ivan Andreevich Krylov understood. He accidentally saw the sketches of the young painter and wrote a letter to the artist urging him to leave horses and soldiers (battle painting) forever and get down to the real thing - the genre. The writer's advice sounded like this: "Show our people what they are ..." What Fedotov did when he was the first in Russia to create works in the genre of "moral critical realism."

In 1847, the painter painted the first picture, which Fedotov decided to present to the professors. This picture was called "Fresh Cavalier". The morning of the official who received the first cross and represented the official who barely came to his senses after the feast given to him on the occasion of receiving the order.

In the same 1847, Pavel Andreevich Fedotov painted the canvas "The Choosy Bride". The canvas tells the viewer the whole plot. This is facilitated by the deliberately prim atmosphere of the room, the unnaturally emotional expressions on the faces of the acting characters and some comicality of their positions.

For the painting "The Courtship of a Major" the artist was awarded the title of Academician. The audience stood in front of this picture with undisguised surprise and delight: it was a new revelation, a new world opened by the artist. Until now, Russian life, as it is, in all its real frankness, has not yet appeared in painting.

The painting "Breakfast of an Aristocrat" was painted by P. A. Fedotov in 1849-50. In it, the author ridicules the insignificance of a young aristocrat who squandered his fortune, but strives for external brilliance and for show-off life.

Pavel Fedotov deservedly bears the name of the discoverer of satire in Russian painting, the works he created firmly entered the history of fine art and captivate the viewer with their unusual, uniquely delicate skill and unsurpassed realism, his miniature paintings make a simply charming impression on our contemporaries. Self-portrait

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SELECTION OF WORKS BY REALISTS. P. A. FEDOTOV (1815-1852) MOU SOSH №36 Completed: Korelskaya Natalya, grade 11

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A selection of the most outstanding works of painting by the realist artist Pavel Andreevich Fedotov. Realism is a trend in art, characterized by the image of social, psychological, economic and other phenomena that correspond to reality as much as possible. In the field of artistic activity, the meaning of realism is very complex and contradictory. Its boundaries are changeable and indefinite; stylistically it is multifaceted and multivariate. Within the framework of the direction, new genres are formed - everyday picture, landscape, still life, portrait in the genre of realism. The term "realism" was first used by J. Chanfleury to designate art opposed to romanticism and symbolism. The birth of realism is most often associated with the work of the French artist Gustave Courbet (1819-1877), who opened his personal exhibition "The Pavilion of Realism" in Paris in 1855.

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"The Choosy Bride" 1847 P.A. Fedotov took the famous Krylov's fable "The Choosy Bride" about the fastidious beauty who refused all applicants year after year, until she suddenly caught herself: "The beauty, until it completely faded, For the first I grabbed her, went, And glad, glad I was already, That I had married a cripple. " That decisive moment was chosen, which made it possible to understand everything - both the fate of people communicating with each other, and the essence of the explanation itself, and what will follow. The characters actually live through such an important situation for them, completely surrendering to their feelings. The things around are strictly selected, and none of them seems superfluous: both the top hat with the gloves put in it, overturned by the Bridegroom when he briskly threw himself at the Bride's feet, and the furnishings.

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"The Choosy Bride" 1847, Tretyakov Gallery, Moscow

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"Fresh Cavalier" 1848 Tretyakov Gallery, Moscow

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"The Major's Courtship" 1848, Tretyakov Gallery, Moscow

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"All cholera is to blame!" 1848 Fedotov spent a long time with the plot "All the cholera is to blame", sketched in hot pursuit of the recent sad events, which have not yet lost some of their poignancy. However, this plot was conceived in a rather ironic spirit. A small home party, one guest fell out of his chair, having sipped in drinks, and there was a fuss around him: a woman rubbed his chest with a brush, the owner reached out with a glass of tea, there was a hot argument between the two ladies, almost to the point of a fight, about the necessary funds, and the victim meanwhile, it lies in a layer, arms outstretched, - the serious is mixed with the comic. “As the evil one in sins Our brother reproaches So, when cholera is afraid In the city walks All she is to blame All cholera. So other Slightly to taste delicious Will not endure - so straight, That in a healthy time, Digest the stomach at the right time. So sometimes forgetting fear At friends' feasts They will drink one wine Half a dozen at my brother You look bad who's the fault All cholera is to blame "

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"The Woman of Fashion" ("The Lioness") 1849 The painting depicts a secular lady standing in the middle of the living room in a "fashionable" pose. She is smartly dressed, which cannot be said about her husband. There is a thin cigarette in her mouth, all her thoughts are occupied with only one thing - fashion, clothing, outer gloss. In the midst of domestic collapse, dirt and grayness, it all looks very ironic. “Before she was a lady And had a reputation for about, She went to the market with a cook, Salted cucumbers, mushrooms And took care of cinders. I took a walk abroad. Yes, I lived in Paris - I returned as a lioness. "

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"Breakfast of an Aristocrat" 1851 After the success of the picture "The Major's Matchmaking", Fedotov, going over his sketches, decided to dwell on the theme suggested by the feuilleton. The situation presented in the picture is not in itself ugly, not ugly. The plot, as always with Fedotov, reads quite clearly: an impoverished aristocrat sits in a luxurious ostentatious interior. Hearing the guest's footsteps, he hides the piece of bread that makes up his entire breakfast. We do not see the guest, but only the floor of his coat and a gloved hand pushing the curtain aside. The noise in the hallway caught the "aristocrat" by surprise and he is in a hurry trying to cover up the evidence with a book. Before us is one of Fedotov's favorite themes - lies, cheating, hidden behind visible well-being. The magnificently painted interior with the established beauty of the objects that inhabit it is opposed to the world of deception into which the hero is plunged. This juxtaposition contains a moral sense. Fedotov gave him a shade of comic, not without reason he remembered in connection with the picture a wise popular saying: "there is silk on the belly, but there is a crack in the belly."

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"The Widow" 1851 "The Widow" is marked by a special, deliberate simplicity. There is only one figure in the picture and there is no action. In a semi-dark, unpretentious room, a young pregnant woman in a black mourning dress stands, leaning her elbows on a chest of drawers. An expression of deep sadness and thought was frozen on her face. On the chest of drawers, next to the icon, there is a portrait of a young officer in a hussar's uniform - the deceased husband of a widow. In a dark corner of the room, near the bed, a candle is burning, forgotten since the night; she illuminates a basket in which a few things still belonging to a young woman are somehow stacked; the furniture is no longer hers - it is described, and government seals are hung on it. The husband left behind only debts, creditors described the property, and the widow will have to leave that cozy little world in which until recently she was the mistress. A bleak future opens before her. The scene, written by Fedotov, is marked by the same laid-back naturalness that characterizes his satirical paintings. In the appearance of the widow there is nothing ostentatious, nothing deliberate, no pose; it contains the same unvarnished truth of life, which is the very essence of Fedotov's painting.

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"The Players" 1852 In the painting Fedotov tried to portray what is happening from the point of view of the lost hero, to whom his partners seem to be terrible phantoms. The players were together for several hours, spent in mutual deception, rivalry and struggle. But then what should have happened has happened. The winners with their heavy heads, stiff lower backs and aching joints ended up in one world, and the loser, with a feeling of complete despair that gripped him, was in another. Light, space and movement separated them in the picture. He is calm and motionless. They wriggle and move. Crushed and overthrown, he froze, one hand continues to grip a glass of wine. The loser is almost ridiculous: a half-smoked cigarette stupidly sticks out of his mouth, he looks like a madman and, apparently, is close to that. The players are faceless, lifeless. They have no feeling, nothing human. Only baseness and devastated souls.

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Presentation on the topic pavel andreevich fedotov. Tips on How to Make a Good Presentation or Project Presentation

Pavel Andreevich Fedotov "Gogol of Russian Painting"

Pavel Fedotov's painting

Creativity and the fate of the artist

From the artist's biography

From the history of the cadet corps of Russia

Fedotov - officer

In the watercolor and oil portraits of fellow soldiers, the military is deprived of the usual for that time romantic halo of a heroic personality. Comrades

Academy of Arts. Saint Petersburg.

Peasant world A.G. Venetsianov

K. P. Bryullov

Fedotov - painter

Fedotov's canvases

"Major's matchmaking"

"Breakfast of an aristocrat"

"Widow"

"Anchor, another anchor!"

"Fresh Cavalier"

The artist very often writes and paints himself: here he is a young, brilliant guardsman in full dress; here he is playing cards with the regimental comrades;

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Presentation on the topic: P. A. Fedotov (1815-1852)

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