Analysis of the painting "The Thaw" by Vasiliev. Young genius of landscape. Five famous paintings by Fyodor Vasiliev. Description of the painting by Vasilyev Thaw

Among Russian examples of landscape painting, which amaze foreigners with their dynamics and insight, an exceptional place belongs to the paintings of a young and undoubtedly brilliant painter. If it were not for his early death from tuberculosis (at 23 years old), he, according to Kramskoy, would have revolutionized the landscape genre.

Yes, he was close to this. Once you see these canvases, you cannot forget them. And the master’s hand cannot be confused with the creative style of other famous landscape painters. Such is the picture “The Thaw”. Vasiliev painted it in the winter of 1871, after a summer trip along the Volga, during which the artist reveled in the splendor of nature. He absorbed impressions in order to synthesize them into works filled with the finest shades of colors and moods.

Distinguished landscape

Vasiliev’s painting “The Thaw” was awarded the first prize among others presented by great masters of painting at the exhibition of the Imperial Society for the Encouragement of Artists. The patron bought the landscape for his collection long before the exhibition. Grand Duke Alexander, who was to ascend the Russian throne ten years later, was so impressed by the painting that he ordered a copy of it for the imperial house. In the author's repetition, the canvas acquired a softer, more touching sound than its “twin-first-born”. It was decided to send him to the international exhibition held in Great Britain. The landscape also returned from abroad with the first prize and enthusiastic responses from reviewers. Today, Vasiliev’s first painting “The Thaw” is exhibited at the Tretyakov Gallery, and its “double” has found a place in the State Russian Museum of St. Petersburg. What was it about this painting that captivated the eminent public?

The Mystery of Attraction

Let's take a look at this canvas, unusually wide in format and deep in content. There was a thaw in the middle of the cold Russian winter. Nature is still in deep sleep, bound by ice and frost. The sudden “unplanned” awakening takes her by surprise. Dark thawed patches, a damp mess of snow on a road immediately attacked by birds, a faint golden spot of light somewhere above - these spring changes are still deceptive, but already inevitable.

Philosophical sound

Vasiliev’s painting “The Thaw” was created during the period of great reforms in the country, which in its own way will be reminiscent of Khrushchev’s “thaw” in the twentieth century. The surge in political life in Russia at that time was based on liberal trends that directly affected the situation of a huge part of the people. As you know, the reforms disappointed, but encouraged people to self-determination and choose their future path.

A thaw in the middle of winter, overflowing streams of melted snow, under which the road was barely visible, forced the peasant and the tiny girl to stop in indecision. Where to go? How? They will probably start the journey, but it will not be easy for them.

Undoubtedly, the idea of ​​the picture is not exhausted, as is commonly believed, by the maxim about the “difficult peasant life.” There is a thought here about the forward movement of nature and history, which pushes time forward through stops and obstacles. Is this why Vasiliev’s painting “The Thaw” acquired worldwide significance?

Artistic decision

The author uses the impressionistic techniques of that very “mood painting” that is always mentioned when talking about Vasiliev’s canvases in this work. The author depicts not so much objects as the light and air enveloping them. Thanks to this, the outlines are extremely realistic, mobile, and expressive. The space of the canvas is divided into two parts - earth and sky. In the center, a tall tree, on which a copse of trees lost in the bluish depths ends, and a stream pouring out from a melted reservoir visually create a cross, absorbing the vertical and the horizontal. Gently changing tones unite the hysterical beauty of the landscape, the croaking sounds of crows, the quiet murmur of melting snow into one powerful symphony of greatness and defenselessness, which F. Vasiliev so insightfully understood and masterfully portrayed. “The Thaw” was extremely highly appreciated by the artist’s friend and teacher Ivan Kramskoy, calling it strong, daring, full of great poetic content and a decidedly new work.

Paintings by Fyodor Vasiliev are presented in the Russian Museum, the Tretyakov Gallery, and in the museums of Yalta and Odessa. According to the recollections of his contemporaries, he was very hardworking; not a single detail could escape his “magic pencil”.

If not for his perseverance and passion for painting, the art world might not have recognized his name. The boy was born into the family of a poor St. Petersburg postal official. Due to a lack of money, the young man at the age of 12 went to work at the main post office, but nevertheless did not abandon his passion for drawing. When he was 15 years old, he entered the Drawing School of the Society for the Encouragement of the Arts, where he met outstanding artists.

Ivan Kramskoy became his good friend. Despite the age difference (Ivan Ivanovich was 13 years older than Fedor), they became very close. A letter from the painter has been preserved, in which he confessed to Vasiliev: “My life would not have been so rich, my pride would not have been so solid, if I had not met you in life... You are definitely a part of me, and the part is very expensive, your development is my development. Your life echoes in mine...”

Self-portrait of Fyodor Vasiliev. Photo: Public Domain

Ivan Shishkin also played a significant role in Vasiliev’s development as an artist. He taught the young man to transfer what he saw onto canvas with utmost precision, and talked about the skill of drawing. Over time, they even became relatives: Shishkin married Evgenia Vasilyeva, Fedor’s sister.

Several letters have been preserved that the young artist sent to the Shishkins. One of them, dated August 11, 1872, was written from Yalta, where the artist moved due to lung disease.

“I work as always, but I have to work for money, which always upsets me greatly; Grand Duke Vladimir Alexandrovich, who had already received one of my paintings, ordered four more, which I could not get rid of, although I tried; To add insult to injury, these paintings must be completed by the deadline of December 24; so the paintings that were started will therefore go to waste, and I wasn’t able to paint for the competition this year, since there is only time left in January and February of next year, and you will probably put forward such a thing again, which is dangerous for me to even hope to paint.”

He failed to complete the work: two months later, on October 6, 1873, he died.

"Volga Lagoons", 1870

The painting “Volga Lagoons” attracted great interest at the posthumous exhibition of paintings by Fyodor Vasiliev. Photo: Public Domain

In 1870, 20-year-old Fyodor Vasiliev went on a trip along the Volga with his artists Ilya Repin and Evgeny Makarov. Years later, Ilya Efimovich wrote in his book “Far Close” that the young man impressed his companions with his manner of work and became an “excellent teacher” for his older comrades: “Not even a week had passed before we started, slavishly imitated Vasiliev and believed to the point of adoration to him. This living, brilliant example excluded all disputes and did not allow for reasoning; he was an excellent teacher to all of us.”

In his words, “his finely sharpened pencil with the fast mouth of a machine sewing needle scribbled across a small leaf of his pocket album and accurately and impressively outlined the whole picture of a steep bank with houses and fences crooked above the steep slopes, stunted trees and pointed bell towers in the distance..."

Sketches made during the trip later served as the basis for several paintings, including “Volga Lagoons.”

In the future, the canvas ended up in the collection of Pavel Tretyakov. He took it after the posthumous exhibition of the artist’s paintings in 1874 to pay off a debt that Vasiliev was unable to pay to the patron due to his illness and death.

“View on the Volga. Barki", 1870

Currently, the canvas is exhibited in St. Petersburg at the Russian Museum. Photo: Public Domain

This picture was also painted after a trip along the Volga.

A year after the artist’s death, it was put on public display, where Tretyakov drew attention to it. His letter to Ivan Kramskoy has been preserved, in which he wrote that he should have it in his collection.

“I decided that for my goal, already known to you, I definitely need to have Vasily’s landscape with barges, since this copy gives an idea of ​​what a wonderful marine painter he would also be; and so yesterday I sent you a telegram; I am sure that you sympathize with my intense love for Vasiliev’s works…” he wrote.

However, his plans were not destined to come true. Currently, the canvas is exhibited in St. Petersburg at the Russian Museum.

"Thaw", 1871

Grand Duke Alexander Alexandrovich ordered Vasiliev to create an original repetition of the painting “The Thaw”. Photo: Public Domain

“The painting “The Thaw” is so hot, strong, daring, with great poetic content and at the same time young (not in the sense of childhood) and young, awakened to life, demanding the right of citizenship among others, and although decisively new, it has roots somewhere far away,” is how Ivan Kramskoy described this work of Vasilyev.

“The Thaw” was first presented to the audience during a competitive exhibition of the Society for the Encouragement of Artists, where it was awarded first prize. In the same 1871, Muscovites were also able to see her: she participated in the exhibition of the MOLKH - Moscow Society of Art Lovers.

Art critics note that this painting made Vasiliev truly famous. The young man was offered to make original copies of the painting. He could not refuse one of the customers - Grand Duke Alexander Alexandrovich, the future Emperor Alexander III.

The landscape, executed in a slightly different color scheme, decorated the Anichkov Palace, from where it went to the London annual international exhibition in 1872. The film received rave reviews from the British.

Now a copy made for Alexander III is presented in the Russian Museum. The original can be seen in one of the halls of the Tretyakov Gallery.

"Wet Meadow", 1872

The painting participated in a competitive exhibition of the Society for the Encouragement of Artists. Photo: Public Domain

While working on “The Thaw”, Vasiliev undermined his health. It soon became clear to the doctors that they were dealing not with a simple cold, but with tuberculosis. To improve his health, Fedor was offered to go to Crimea.

Already on the peninsula, Vasiliev created the painting “Wet Meadow”, painted by him from his memories. In 1872, the painting was presented at the exhibition of the Society for the Encouragement of Artists, where it took second place, losing to the work of his brother-in-law, Ivan Shishkin.

“Wet Meadow” was purchased by Pavel Tretyakov, who made a special trip to St. Petersburg even before the exhibition began.

“In the Crimean Mountains”, 1873

“A real painting is not like anything else, does not imitate anyone - not the slightest, even remote resemblance to any artist, to any school, it is something so original and isolated from all influences, standing outside the entire current movement art, that I can only say one thing: it’s not good, even bad in places, but it’s brilliant,” Ivan Kramskoy gave such an enthusiastic description of the canvas.

In his opinion, looking at a Tatar cart drawn by oxen, the viewer involuntarily finds himself inside this story: “obediently stands under the pine trees, listening to some noise high above his head.”

This painting became one of Vasiliev’s last works. It is known that he initially planned to use a wide canvas, but then changed his mind, choosing vertical. Thus, art critics believe, he wanted to emphasize the height of the mountains and upward direction.

Description of the painting by Fyodor Vasiliev “Thaw”

Fyodor Vasiliev is an amazing artist, who was given only 23 years of life by an evil fate. The fame of the Russian painter was truly mind-blowing. At the exhibition organized after his death, all of Vasiliev’s paintings were sold out even before the opening of the exhibition. An unprecedented case.

The film “The Thaw,” for which Vasiliev was awarded the first prize, had the widest success. Its copy was specially created by the author at the request of the future autocrat of the Russian Empire, Alexander III, who was then a grand duke. The landscape chosen by the artist for his creation is not very attractive. A dull landscape over a vast expanse, over which the sky, overflowing with moisture, hung low. The snow is clearly imprinted with traces of sled runners, flooded with dirty water from melted snow, and in the middle of the road there are two figures (an old man and a child), which give the landscape an even more depressing note. Right there, behind the thawed patch, the rooks took refuge, adding no beauty with their black color. To top it all off, on the right stands a wretched hut with a blind window and smoke creeping crookedly from the chimney. Before us is the famous Russian thaw, which, as they say, “is dearer than all lands” to a truly Russian person.

But what attracts this picture? It’s not for nothing that a correspondent for one of the British newspapers, having seen it at an exhibition in London, wrote that no one could have better described the thaw in color. The film conveys a subtle lyricism, combined with a deep knowledge of nature and Russian reality. The softness of the colors and the sense of authenticity, superbly conveyed by the artist, also play a big role here.

Fedor Vasiliev. "The Thaw" (1871). Canvas, oil. 53.5 x 107 cm. State Tretyakov Gallery, Moscow This painting carried great social content; it was all imbued with melancholy and sadness, inspired by the artist’s bitter thoughts about the life of the Russian village. Close in his worldview to romanticism, Vasiliev, striving to express strong feelings, looked for bright, unusual states of nature, the complex life of the sky, tension before a thunderstorm, a thaw in the middle of winter. The painting was a great, even enormous success for the young artist. It was bought by P.M. Tretyakov. At a competition organized by the Society for the Encouragement of Arts, "The Thaw" received first prize, while "Pechora Monastery" by Savrasov, whom Vasiliev could consider one of his teachers, received second. Vasiliev's painting of the same name, which adorns the exhibition of the Russian Museum, is an author's repetition, executed especially for the royal court, and was commissioned by Emperor Alexander III. It was this piece that was among the forty best works of Russian artists that was sent to the World Exhibition in London in 1872, where it was noted as one of the most worthy, causing an enthusiastic article by an English reviewer. The appearance of the painting “The Thaw” in the year of the opening of the first traveling exhibition naturally introduced Vasiliev into the circle of leading artists close to him. Fyodor Vasiliev was twenty-three years old when a cruel and inexorable illness cut short his life. He was able to devote only a few years of inspired creative work to his beloved art, but even in this short period of time his brilliant and generous talent managed to reveal many of its sides and enrich Russian painting with a new and original vision of the landscape of his native country. Fyodor Vasiliev was called “a boy of genius” by Kramskoy and Repin; the young artist was considered “tremendously talented” by Stasov, who saw in him “one of the best hopes of our national school.” Fyodor Vasiliev took only the first steps along the wide creative path that lay out before him and fell silent forever. But what he left us will forever sound in Russian art with its special poetic note. Vasilyev’s artistic heritage is small, and it was not the abundance or variety of motifs that delighted his contemporaries and captivates us to this day. Even Kramskoy very clearly defined the historical merit of his brilliant younger brother: “He was destined to bring into the Russian landscape what the latter lacked and is lacking: poetry with natural execution.” How monotonous, stingy and homeless is this deserted flat landscape of central Russia, well known to every Russian person, at that turning point when winter is still arguing with spring, but the moist breath of the steadily approaching spring days is already clearly felt in the air! Nature reluctantly wakes up from its winter sleep. There is no joy in this awakening. Rusty tones of melting snow turning into sticky mud, foggy distances and cloudy, watery skies. Everything around was wet and rotten - blackened melted snow, leaden-gray clouds barely illuminated by the weak rays of the sunset sun, a muddy road with a muddy track of sled runners, a shapeless stream spreading wide, and black bushes that had thrown off their snow cover. And the piercing wind, also saturated with dampness and moisture, tirelessly ripples the water of the thawed stream and sweeps, sweeps fractional drops into the open, endless distance. The random passer-by and the little girl accompanying him must feel very lonely, lost in this rotten mud. Standing indecisively in front of a wide clearing of a stream in the middle of the road, they seem lost in the dull space of Central Russian winter nature, depressing in its length. Their figures further enhance the alarming, painful mood. But it does not exclude, but even highlights the unique beauty of the landscape. A timid ray of sunlight breaks through the dense layer of gray clouds, as if blessing travelers on a difficult path. There is not a soul around, only a rickety hut to the side speaks of the proximity of a poor and wretched, but still a faithful shelter for a homeless person, covered at this late evening hour by the dank and chilly pre-spring thaw... Boris Pasternak. February. Get some ink and cry! Write about February sobbingly, While the thundering slush burns in the black spring. Get the cab. For six hryvnias Through the gospel, through the click of the wheels To be transported to where the downpour is Even noisier than ink and tears. Where, like charred pears, thousands of rooks will fall from the trees into puddles and bring down dry sadness to the bottom of your eyes. Underneath it, the thawed patches turn black, And the wind is torn with screams, And the more random, the more true Poems are composed in tears. vk.com/russian_painting

Fedor Vasiliev. Thaw.
1871. Oil on canvas. Tretyakov Gallery, Moscow, Russia.
(author's copy: State Russian Museum, St. Petersburg, Russia).

In 1871, Vasiliev created one of his main works - Thaw, which was presented in the early spring of 1871 at a competition in the Society for the Encouragement of Artists and was awarded first prize. This picture carried great social content; it was entirely imbued with melancholy and sadness, inspired by the artist’s bitter thoughts about the life of the Russian village.

Close in his worldview to romanticism, Vasiliev, striving to express strong feelings, looked for bright, unusual states of nature, the complex life of the sky, tension before a thunderstorm, a thaw in the middle of winter.

The painting is executed in the artist’s favorite warm golden-brown-olive tones and looks almost monochrome in color. Built on complex tonal relationships, it delighted contemporaries with its sophistication of color scheme and subtlety of writing. The horizontally elongated composition of the painting enhanced the silence and homelessness of the flat landscape.

Vasiliev continues his discovery of Russian nature, trying to discern in it the most intimate, unique, which is characteristic only of it: the melodious softness of lines,

The painting was a great, even enormous success for the young artist. It was bought by P.M. Tretyakov. At a competition organized by the Society for the Encouragement of Arts, "The Thaw" received first prize, while "Pechora Monastery" by Savrasov, whom Vasiliev could consider one of his teachers, received second.

Vasiliev's painting of the same name, which adorns the exhibition of the Russian Museum, is an author's repetition, executed especially for the royal court, and was commissioned by Emperor Alexander III. It was this piece that was among the forty best works of Russian artists that was sent to the World Exhibition in London in 1872, where it was noted as one of the most worthy, causing an enthusiastic article by an English reviewer.

The appearance of the painting “The Thaw” in the year of the opening of the first traveling exhibition naturally introduced Vasiliev into the circle of leading artists close to him.

Fyodor Vasiliev was twenty-three years old when a cruel and inexorable illness cut short his life. He was able to devote only a few years of inspired creative work to his beloved art, but even in this short period of time his brilliant and generous talent managed to reveal many of its sides and enrich Russian painting with a new and original vision of the landscape of his native country. Fyodor Vasiliev was called “a boy of genius” by Kramskoy and Repin; the young artist was considered “tremendously talented” by Stasov, who saw in him “one of the best hopes of our national school.”

Fyodor Vasiliev took only the first steps along the wide creative path that lay out before him and fell silent forever. But what he left us will forever sound in Russian art with its special poetic note. Vasilyev’s artistic heritage is small, and it was not the abundance or variety of motifs that delighted his contemporaries and captivates us to this day. Even Kramskoy very clearly defined the historical merit of his brilliant younger brother: “He was destined to bring into the Russian landscape what the latter lacked and is lacking: poetry with natural execution.”

How monotonous, stingy and homeless is this deserted flat landscape of central Russia, well known to every Russian person, at that turning point when winter is still arguing with spring, but the moist breath of the steadily approaching spring days is already clearly felt in the air!

Nature reluctantly wakes up from its winter sleep. There is no joy in this awakening. Rusty tones of melting snow turning into sticky mud, foggy distances and cloudy, watery skies.

Everything around was wet and rotten - blackened melted snow, leaden-gray clouds barely illuminated by the weak rays of the sunset sun, a muddy road with a muddy track of sled runners, a shapeless stream spreading wide, and black bushes that had thrown off their snow cover. And the piercing wind, also saturated with dampness and moisture, tirelessly ripples the water of the thawed stream and sweeps, sweeps fractional drops into the open, endless distance. The random passer-by and the little girl accompanying him must feel very lonely, lost in this rotten mud.

Standing indecisively in front of a wide clearing of a stream in the middle of the road, they seem lost in the dull space of Central Russian winter nature, depressing in its length. Their figures further enhance the alarming, painful mood. But it does not exclude, but even highlights the unique beauty of the landscape. A timid ray of sunlight breaks through the dense layer of gray clouds, as if blessing travelers on a difficult path.

There is not a soul around, only a rickety hut to the side speaks of the proximity of a poor and wretched, but still a faithful shelter for a homeless person, covered at this late evening hour by the dank and chilly pre-spring thaw...