Kuindzhi a and early spring 1890 1895. An essay based on Kuindzhi's painting "early spring"! Urgently! Grade 4. Features of the painting "Early Spring"

"Early Spring" Arkhip Kuindzhi

Arkhip Ivanovich Kuindzhi went down in the history of Russian painting as a master of light effects. Light and shadow were not only used by him to create a realistic landscape, but also to give a special mood, emotional content of the paintings. His paintings have always amazed with their strength and expressiveness.
The genre in which the painter worked is landscape. He not only conveyed the beauty of landscapes, but also filled his works with air and light. Kuindzhi loved birches, which look very impressive on canvases, where the play of light and shadow is an important component. No wonder famous painting He embodied "Birch Grove" in several versions.
Arkhip Ivanovich portrayed this tree in other works, for example, in the painting "Early Spring", which he painted in adulthood, when he already had a good hundred outstanding works under his belt. Creating it, the artist worked with clean calm colors of light pastel colors. The picture came out very cheerful and lyrical.
Before us is the awakening nature, the familiar landscape of the middle zone. We see the bend of the river, which divides the foreground of the canvas diagonally, emphasizing the perspective and giving the painting depth. The horizon divides the picture in half vertically, while the river approaches us, and the sky "leaves" into the distance.
The time is the end of February or the beginning of March, when winter has not yet ended and spring has not really begun yet. The ice has just begun to melt, but it has not melted to the end. Although along the edge, at the left bank, as well as in the central part, the water is already streaming in small streams. And the snow layers have not yet melted, although they have lost their whiteness and thawed a lot. The snow-cleared land still looks dull, but that will soon change.
Most of all, spring is felt thanks to the light that floods the picture. This bright sunlight makes the trees in the distant forest on the horizon light, but in winter they seem black. The sky, although covered with a light haze of white clouds, shines with a soft blue. In the foreground, green spots are pleasing to the eye. Most likely this is moss, which retains freshness during this damp cold season. Two different blue tones - sky and water - dominate, making the picture "airy".
In the center, at the very bend, is a white birch. Its trunk, slightly inclined towards the water, stretches into the sky with light branches. They will not soon be covered with greenery, but even now in this image one can feel the triumph of spring gaining strength. It is far from real warmth, but in the atmosphere of the picture there is no place for despondency. Waiting for real spring is already a holiday.
source: Olga Kryukova in gr. hermitage Museum

Information about the childhood of Arkhip Kuindzhi is very fragmentary and incomplete. Even the date of his birth is not known reliably. A few documents have survived, on the basis of which the researchers of Kuindzhi's biography call his birthday January 15, 1841. This event took place in a suburb of Mariupol called Karasu.
It is believed that the ancestors of the artist were the Greeks, who lived in the Crimea in close proximity to the Tatars. There was a gradual interpenetration of cultures, the language barrier was erased, mixed marriages arose. Therefore, the presence of Tatar blood in the Kuindzhi family is quite possible, although the artist himself always said that he considered himself Russian.
The surname "Kuindzhi" (in the original transcription of Kuyumdzhi) in the Tatar language means the name of the craft: "goldsmith." It is known that the artist's grandfather was indeed a jeweler. Arkhip's brother translated the surname into Russian and became Zolotarev.

Kuindzhi's first works were marked by the influence of the art of the great Aivazovsky. Studying at the Academy of Arts in St. Petersburg, acquaintance with I. N. Kramskoy and I. E. Repin marked the beginning of the realistic period of the artist's work ("Autumnal thaw". 1872).
In 1876, Kuindzhi presented the painting "Ukrainian Night", making a rapid turn from social themes to a simple-minded image. perfect world, the artist was alien to romantic exoticism, he how much accepted life as a blessing that gives a person beauty and joy to the impression.
The master developed new pictorial techniques used in the painting in his next works ("Birch Grove", 1879, "Moonlit Night on the Dnieper", 1880. "Dnieper in the Morning", 1881) In the prime of his creative years, Kuindzhi suddenly abandoned exhibition activities and concentrated on teaching in the landscape class of the Academy of Arts, from which K. Bogaevsky, N. Roerich and A. Rylov came out.

« Early spring"- a picture of the great Russian artist Arkhip (1841-1910). The painting was painted in 1895. Canvas, oil. It is currently in the Kharkov Art Museum.

"Early Spring" is considered one of the most notable paintings by the Russian painter Arkhip Kuindzhi. The artist is a recognized master of landscape. In his works, he tried to depict not just the most beautiful views of the surrounding nature, but to convey the atmosphere and mood of nature at different times of the day, season and under different weather conditions. He became a great artist not only because he was able to very accurately convey landscapes, which many are able to do professional artists, but that, with the help of canvas and paints, he could magically transfer the very spirit of that landscape, the mood of nature, warmth and cold, despondency and joy, saturation and all unimaginable shades of light to the picture. The painting "Spring" by Kuindzhi deserves the highest praise precisely because, looking at it, the viewer literally finds himself in that very place, can feel the freshness of early spring, the coming warmth, smells, the murmur of water that thaws from the ice.

The painting depicts a winding river in early spring. She goes straight into the depths of the picture, drawing the viewer's attention to the farthest corners of the landscape. Nature is looking forward to the coming of spring. The ice has already cracked and melted near the banks of the river. The sun, which warms the earth more and more, melts snow and ice. In some places, you can already see green islets of grass.

The picture "Spring" can be felt by anyone who has ever ventured out into nature or even in the nearest parks in early spring. It is very, very difficult to catch that invisible metamorphosis of nature that wakes up from hibernation and begins to declare itself with new smells and sounds. Only a truly gifted artist will be able to capture this change and convey it with the help of paints.

Painting "Early Spring" Kuindzhi

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The best skill of working with light demonstrated Russian artist Arkhip Kuindzhi. The author not only skillfully created realistic landscapes, but also a special atmosphere. His canvases leave no one indifferent. They are filled with special strength and mood.

Subtleties of work

Arkhip Kuindzhi loved to paint landscapes. He was good at that. The realism of the landscapes and the atmosphere of nature were perfectly reproduced. The artist's canvases are filled with light and air. The author paid a lot of attention to birches. The same landscape will sparkle in a new way if you use different lighting techniques. So the work "Birch Grove" is performed in several versions.

Here we will focus on another picture - "Early Spring". The work also features birches. The canvas was painted by the artist at a mature age, when the master had time to gain experience. For him, the author used a light palette of colors. Thanks to pastel shades, it turned out to recreate cheerfulness.

Features of the painting "Early Spring"

The awakening nature opens up to the viewer. A similar landscape can be found in the middle zone throughout Russia. The landscape is cut by the river. It gives the painting a special charm and depth. An amazing play of colors and light divides the canvas in half. So the river is very close, it is enough to reach out, but the sky seems to be very far away.

Spring has just begun. Perhaps the artist depicts the end of February. The ice is actively melting, but small patches are still on the surface of the river. In some open spaces, you can see the flowing sections of water. The snowdrifts have significantly decreased, but have not yet melted completely. The land, which has freed itself from snow, has not yet acquired a green cover, but it is a matter of time.

Spring is felt thanks to the light. Bright Sun rays brightened the trees on the horizon. The sky is soft azure. You can see areas covered with greenery on the ground. It is possible that this is moss. For the river and the sky, the artist chose different tones of blue. Thanks to this, lightness is acquired.

A birch can be seen in the center of the composition. It leans slightly towards the river, but its branches are directed towards the sky. The tree is waiting for the coming of spring. The canvas charges with hope that soon the birch will turn green and the snow will melt. This is a special atmosphere that sets you up for a positive.

"Artist of light" - so called Kuindzhi, one of the most unusual masters landscape painting 2nd half of the 19th century. He created a special type of romantic landscape based on a realistic perception of the world. Not a single artist after Bryullov, according to contemporaries, enjoyed such a resounding success as Kuindzhi. Its birch groves, illuminated by the bright sun, quiet moonlit nights on the Dnieper, sunsets and dawns amazed the audience with their poetry, natural, illusionary transmission of light, with special radiant colors. The power of light in Kuindzhi's paintings, now bright, festive, now mysteriously flickering, even gave rise to the legend of "moon colors", which the artist allegedly used.

Kuindzhi had an amazing eye sensitivity to the finest nuances of color, that is, to its changes under the influence of light. This allowed him to achieve exceptionally correct tones in the picture when conveying the colors of the visible world, to accurately convey the ratio of light and shadows.

But Kuindzhi's paintings delighted the public not only with their poetry of light. They conquered also by the unexpectedness of their beauties, by the novelty of landscape motives. Particularly amazed in his landscapes is the soft charm of the Ukrainian nature, sung by Gogol.

A.I.Kuindzhi was born into the family of a shoemaker in the village of Karosu, near Mariupol. Left an orphan, he was forced to "go to the people." I have been drawing since childhood, wherever I could. Its owner, a local grain merchant, noticed the boy's talent and at the age of 15 sent him to study with Aivazovsky, in Feodosia. But he did not have a chance to learn from the renowned master. However, Kuindzhi was fond of painting a marine painter for a long time. In the early 60s, Kuindzhi moved to St. Petersburg, intending to enter the Academy of Arts. But without preparation I could not pass the exam. And then persistently, from year to year, he made new attempts. In 1868 he failed again, but his painting "Tatar Saklya on the seashore in moonlit night", admitted to the competition, unexpectedly brought Kuindzhi the title of an out-of-class artist and permission to study at the Academy as an auditor. However, permission was clearly belated - Kuindzhi was in his 27th year, and he had already become an independent artist.

Possessing a bright original talent, Kuindzhi could not stand the beaten path and always tried to go his own way. He believed only in his personal views on art and reached everything with his mind.

The artist's creative life was very fruitful, he wrote great amount magnificent landscapes. But in the 80s, unexpectedly for the public, Kuindzhi was seized by a mental crisis, the cause of which is still unknown. For almost 30 years, the artist led a reclusive life, did not write anything. And only after his death on July 11, 1910, everything he created became the property of the artistic community.

The northern island of Valaam. The harsh gloom of nature, scarcity and dreary monotony. The bare rocky soil, barely covered with stunted mosses, stunted thin trees, a shallow boggy river with a transparent rocky bottom and the blue-black haze of low-hanging clouds, expressively conveyed in the picture, leave a dull, joyless impression.

This painting attracted the attention of the art community to Kuindzhi. Many were amazed by her amazing silver tone.

I touch Eternity with my hand. In the mountains, you can meet Eternity so close ...

Fearing to disturb the unearthly peace, I look up and see infinity.

So far from here is vanity, so fleeting aspirations of people ...

Here, only mountains are dumb beauty and a majestic element of the sky.

When you stand above the sky high on the roof of the world as a tiny insect -

It breathes freely and easily, and it is not at all scary to appear before Eternity ...

With great poetic power, Kuindzhi conveyed the charm of the deep velvet southern night, preserving the stately simplicity of the image. The whole nature seemed to have plunged into a dream, embraced by the blackness of the night. Silence reigns over the world. The shimmering silvery green light of the moon pours from heaven to earth, cutting through the darkness of the night, disturbing the imagination. In its exultant radiance, everything takes on ghostly outlines, transforms beyond recognition. The wide, full-flowing Dnieper was spread like a silvery ribbon across the plain. Light ripples on the water sparkle. Mazanka stuck to the river on the descent stand out in the darkness by the whiteness of the walls. Rare lights in them enhance the feeling of peace. In some places, paths leading to the Dnieper are visible. The opposite bank is drowning in the darkness of the night.

“Do you know the Ukrainian night?” Gogol wrote. “Oh, you don’t know the Ukrainian night. Look at it. From the middle of the sky the moon looks out. The immense vault of heaven has resounded, expanded even more immensely, the Earth is all in a silvery light ... Quiet and calm ponds; the cold and darkness of their waters is gloomily enclosed in the dark green walls of the gardens ... The whole landscape is asleep. And above everything breathes, everything is wonderful, everything is solemn ... Like a charm, the village slumbers on a hill. month of the crowd of huts; their low walls are even more dazzlingly carved out of the darkness. Everything is quiet. "

The image created by Kuindzhi echoes this exciting poetic picture of nature painted by Gogol, the same lyrical and soulful.

Kuindzhi captured the landscape as if from a bird's eye view, thereby achieving the feeling of the immense width and grandeur of the image. A bottomless and majestic sky stretched over the earth. Light clouds, slightly silvered by moonlight, are reproduced with amazing fidelity of shades. But the greatest impression is left by the light of the moon, which came out from behind the clouds. The illusion of this enchanting, fantastic moonlight was so strong, so irresistible on the audience, that it literally made them suspect whether the artist was enhancing its effect with the help of artificial lighting behind the painting.

"Moonlit Night on the Dnieper" captivated the St. Petersburg public. A uniform pilgrimage began to the painting at the exhibition. Long lines of spectators were eager to see the illustrious canvas. There were no numbers of responses in print. The artist's work received full recognition.

Before us is nature in a festive outfit. The birch grove delights with an abundance of light, bright green grass, whiteness and slenderness of trees. In order to draw all the viewer's attention to the snow-white trunks illuminated by the sun, the artist cuts the tops of birches with a frame of the picture.

The whole picture is built on sharp contrasts of light and shadow, their transitions are almost absent here. The dense shadow of the foreground contrasts with the sunlit clearing, around which there is a blank wall of a grove submerged in the shadow. Her dark green silhouette stands out against the light blue sky. In the shade enveloping the trunks of birches, here and there sunbeams flash. The three birches in the center are half sunlit. Branches of birches with delicate foliage permeated with light - against the background of the dark greenery of the grove.

The picture looks very elegant and decorative. The artist AA Rylov very accurately expressed his impression of the picture: "Birch Grove" - ​​what a strange composition, what a simplified form and color! The paints are juicy, fragrant, as if saturated with birch sap. How boldly the artist cut off the trunks of the birches at the top with a frame. It's okay that the dark brown trunks on the roots of birches are unnatural, and everything seems unnatural. No problem. These brown paints emphasize the richness of green tones. This joy sparkling under the fragrant birches is real. "

The immense steppe, which has neither end nor edge, and above it a bottomless silvery-gray sky, as if covered with a light veil of clouds. It is raining slightly. Along the broken road, sinking in the mud, the wagons are languidly slowly stretching, looming as dark silhouettes in the misty mist. Their line, meandering along the road, stretched across the entire steppe, emphasizing its wide sweep, and it seems that the path that lies in front of the Chumaks is endless. The melancholy howl of a dog, bursting into the sleepy torpor of the steppe, intensifies the melancholy and despair with which the picture is filled to the limit.

Ukrainian Night (1876)