If you express the path traveled by Viktor Ivanovich in numbers, you will get solid “mathematics”. Some of the results of his work have long been measured three digit numbers. This applies to the number of paintings he created, students he graduated and scientific publications prepared.

Since the late 60s of the last century, the artist’s life has been inextricably linked with Kuban State University, where he now works as a professor in the painting department of the art and graphic faculty. He also held dozens of exhibitions, master classes and creative meetings. Knowing this, it is difficult to even imagine that his life could have turned out completely differently.

Could become an architect

Viktor Denisenko was born in the Stavropol region, in the small village of Kolyuchka, which is no longer even on the map of Russia. The family was large - six boys and one girl, but due to circumstances one day they were all sent to orphanages at once. While at school future artist made friends with one of the teachers, who instilled in him a love of drawing. Although Viktor Ivanovich did not intend to think about this hobby as a profession.

The Association of Traveling Art Exhibitions was formed in 1870 in St. Petersburg on the initiative of artists Kramskoy, Perov, Ge and Myasoedov. The leaders in the art of movement were everyday genre and a portrait, which made it possible to most fully show the life of the people. Over the half-century of its existence, the Partnership has held 47 traveling exhibitions. In addition to the annual ones, parallel exhibitions were also organized for cities where the main exhibitions did not reach.

“I really wanted to be an architect and decided to go to study at the Rostov Civil Engineering Institute,” says Viktor Denisenko. - It seemed to me that for this it was enough to be able to draw, and the rest would follow. But it turned out that you still need to know mathematics well. I had problems with her, and that’s why I didn’t enroll. And then my teacher, Valentin Vasilyevich Parshutin, said: “Go to Krasnodar, it seems to me that you will succeed there.” He himself studied here - already in mature age entered the correspondence department of the art and graphic faculty of our university. I followed his advice and in 1967 also became a student of art photography.”

In his third year, he was elected chairman of the university's student trade union committee, and he worked in this position for ten years. In 1980, Viktor Denisenko entered graduate school, and after graduation he began teaching students. Then he successfully defended his dissertation, prepared six graduate students for defense, wrote about a hundred articles and twenty teaching aids. And in parallel with his studies and work at the university, Viktor Ivanovich is engaged in landscape painting in practice.

Master of Russian realism

We talked with Viktor Denisenko in his university office. On the walls are some of his new works, all of them landscapes.

The artist's entire office is filled with his works, most of which he created this year. Photo: AiF/ Alexander Vlasenko

“I really love painting landscapes, because this work gives me the opportunity to communicate with nature and feel a connection with it,” explains the artist. - In my free time, I definitely try to go somewhere. Mostly, of course, this happens during the holidays and vacations. I am a categorical opponent of painting from photographs. You need to see nature with your own eyes, feel it. When you stand by the canvas and, for example, the stormy Teberda rushes in front of you, it’s very inspiring.”

Most of his landscapes were painted from life in the Kuban and neighboring regions of the North Caucasus. The names of the paintings speak for themselves: “Adler. Peak season", "Evening beach. Arkhipka”, “In the Guam Gorge”, “In the village of Mirny”, “The Great Silk Road passed here”, “Elbrus region. Autumn”, “White Clay”, “November in Goryachy Klyuch”, “Winter in the Secret Tract”. Less often he paints portraits and still lifes.

Viktor Denisenko is an opponent of painting from photographs: an artist must paint from life. Photo: AiF/ Alexander Vlasenko

“His painting continues the deep traditions of Russian realistic art. He can be classified as one of the artists who are usually called “traditional,” meaning by this the closeness of his works to the Russian, and then the Soviet, school of painting,” this is how art critics speak about the master’s works.

The past year has become one of the most productive for the artist in terms of creativity. During the summer he wrote many works, each of which could be discussed for a very long time. Viktor Denisenko himself finds it difficult to single out any of his paintings. He says that they are all like children and each is loved and valuable in its own way. But if we take into account the geography of his work, it is impossible not to note the Crimean landscapes, filled with a special meaning, if only because of the events recent years. By the way, in one of these paintings the artist captured the progress of construction of a bridge that will connect the peninsula with mainland Russia.

In this painting, painted last summer, the artist showed the progress of construction of a bridge to Crimea. Photo: AiF/ Alexander Vlasenko

“My wife Tatyana and I went to Crimea,” says Viktor Denisenko. “She was my guide, driver, and organizer there, and I just wrote and enjoyed life. My wife is my main assistant, and I owe her a lot.”

Russia is my homeland...

Over the past four years, Viktor Denisenko has devoted a lot of energy to the project “Russia - My Motherland...”, which combines his creative and pedagogical work. This idea was born completely by accident. It all started with an exhibition of the artist’s paintings within the walls of the Legislative Assembly of the Krasnodar Territory, which had big success. Vladimir Gromov, a deputy and Viktor Denisenko’s university friend, advised him to show his creations to all residents of Kuban. This is how the idea of ​​holding traveling exhibitions in cities and regions of the region arose.

The first of them took place in the fall of 2012 in Krymsk. The choice of this city was not accidental. That summer there was a terrible flood there, and with his work the artist wanted to somehow help the local residents survive this tragedy. Krymsk was followed by Novorossiysk, Tuapse, Novomikhailovka and many others settlements Kuban. And after some time, Viktor Denisenko began to transport his paintings to neighboring regions. They were seen in Crimea, shortly after the reunification of the peninsula with Russia, in Adygea, in Karachay-Cherkessia.

According to art critics, Viktor Denisenko’s painting continues the deep traditions of Russian realistic art. Photo: AiF/ Alexander Vlasenko

And in parallel with exhibitions within the framework of this same project, Viktor Denisenko began giving master classes for artist-teachers, students of children's art schools, art schools, teachers secondary schools, and everyone who is interested.

“Unfortunately, art schools provide little knowledge on color science, so teaching its basics has become the main topic of my master classes,” says Victor Denisenko. - I also convey educational institutions his books, written in collaboration with talented students, visual aids on the theory and methods of teaching painting and color science. I would especially like to note that the project “Russia - My Motherland...” would have been impossible without the support of the leadership of our university and the regional Ministry of Culture.”

Viktor Denisenko does not limit himself to seminars for students, but also gives master classes around the region as part of a charity event. Photo: AiF/ Alexander Vlasenko

His traveling exhibitions and master classes will continue in the new year. Viktor Ivanovich says that he will do this work as long as he has the opportunity. Moreover, according to his admission, the artist himself derives great benefit from communicating with people who care about painting, and considers this charitable activities with his modest contribution to the improvement of art education and spiritual development youth of our region.

The relevance of the research problem is determined by global changes in all spheres of human life, including spirituality. In the conditions of renewal and democratization of society, the study of the main patterns and features of the formation of art in the sociocultural space of a particular region acquires great scientific, theoretical and practical importance.

IN modern conditions Interest in the phenomenon of culture has grown significantly, which is due to the search for valuable humanitarian content and the meaning of life. Modern science It has been established that man at the end of the 20th century obeys the laws of cultural communication. Understanding and reconstructing the past helps a person find support in those cultural values ​​that underlie the future development and improvement of culture.

We understand culture as a cumulative method and product human activity, realized in the processes of objectification and deobjectification, and presented in a form connecting these objects, and fine art as a special type of human exploration of the world, an imaginative model of the universe and self-awareness of culture.

We study art in the context of culture from the standpoint of the influence of the type of culture on general development art. The general theoretical concept of the typological development of culture in relation to Kuban culture and art allows us to highlight the characteristic predominance of canonical culture at the end of the 18th century mid-19th century, and dynamic in the second half of the 19th and early 20th centuries. Hence, in each of the indicated periods, a certain type dominated artistic activity: at the beginning folk art, and then professional.

XIX - EARLY XX CENTURIES

The traditional folk culture of the second Kuban was distinguished by its diversity and richness. half of the 19th century– beginning of the 20th century Its originality was manifested in the structure of settlements and dwellings, family and social life, songs and legends, calendar holidays and rituals, and much more.

Spiritual heritage of the Kuban Cossacks
was unique and original. It combined South Russian and Ukrainian traditions. Characterizing Kuban Cossacks, pre-revolutionary sources reported: “They are distinguished by their hard work, honesty, and sociability, but their best feature is their cordiality in accepting strangers”; “of predominantly quiet and kind character, more inclined to bravery in military operations and horse riding.”

All notable events in the spiritual life of the Kuban Cossacks were in one way or another connected with the Orthodox faith. Kuban residents were escorted to the service with a farewell prayer and thanksgiving — met. Returning from service, the Cossacks packed up and always bought a gift for the church. Ekaterinodar churches were full of such gifts. Orthodoxy divided calendar time into labor time and holiday-ritual time, thereby determining the rhythm of life. “[The Cossacks] know about the origin of religion from Jesus Christ,” said one of the old documents. – Some people know about the Ecumenical Councils. Many understand and know the meaning of Vespers, Matins and Liturgy. Not only the elderly, but also young children read prayers beautifully and with attention, such as, for example: Heavenly King, Our Father, I Believe and Have Mercy on Me, O God, and others.”

The elders acted as guardians of customs. Without holding any official positions, they always played a huge role in the formation public opinion. Even the ataman did not sit down without the permission of the elders; in front of them, Cossacks of combat age stood at attention, while Cossacks of non-combat age and without uniform, with their hats removed. The elders were addressed only as “you.” Thanks to the oral tradition of passing information from grandfather to father, from father to son, the Kuban people preserved their culture. The Cossacks did the same when they wanted to preserve the memory of some significant event in their history. Smart boys from all the Cossack settlements of the region, two or three people from each, were certainly invited to military celebrations, gatherings and other important events that took place in Yekaterinodar, so that these events would be imprinted in their children's minds. Over time, these boys became fathers and passed on everything they saw to their children. They subsequently conveyed what they heard to their children. This is how this living chain of Cossack history and culture was forged.

Amateur drama theaters were also of great importance. In February 1876, the Kuban Regional Gazette reported on performances that took place at the headquarters of the Ekaterinodar Regiment in Art. Khadyzhenskaya: “Instead of Levitsky’s “Tactics” and Skurorevsky’s “War Game”, which until now had focused the attention and interest of the society of the regiment officers, no less interesting game, but not on tactical plans, but on the stage - Messrs. Kotlyarov, Lagunov, Ms. Kopaleva and other amateurs; in a word, we hosted amateur performances... Little Russian performances were especially successful. The lower ranks of the Black Sea people, of whom the regiment mainly consists, gave great pleasure to these plays, as they were more understandable. “That’s why all the women are cheating our brother...” was heard from the back rows during the performance... Further, they say, the performances will benefit the Bosniaks and Herzegovinians; a benefit for which one cannot help but express gratitude to the people who took part in our performances.”

Since 1894, “cinemas” have been opened in Yekaterinodar, Yeisk, and Armavir.

The musical culture of Kuban was a holistic artistic phenomenon. In the second half of the 19th - early 20th centuries. there was a process of decline in the role and importance folk music in the life of Kuban residents (especially urban residents) and expanding influence professional music. But articles increasingly appeared in the press calling for the preservation of songs that embody folk spirit, identity and historical memory Cossacks. In the 1870s, collecting folk songs studied by L.I. Karmalina, wife of the head of the Kuban region, famous chamber singer, student of M.I. Glinka and A.S. Dargomyzhsky. In December 1873, at the request of M.P. Mussorgsky sent him from Yekaterinodar several songs recorded from Cossack Old Believers. The publication of folk songs was carried out by Akim Dmitrievich Bigdai, a justice of the peace and amateur musician. The work that Bigdai undertook went beyond purely cultural boundaries and acquired social significance: in the context of the rapid increase in the number of non-resident population in the Kuban region, a heightened desire of the Cossacks to protect and preserve their identity, including with the help of an original song culture, manifested itself. Fourteen editions of “Songs of the Kuban Cossacks” by A.D. Bigdaya evoked a lively response from the public and the press.

For more than a century, the center of dissemination of church singing art was the Military Singing Choir. The greatest contribution to the development of the choir was made by regents M.I. Lebedev, F.M. Dunin, M.S. Gorodetsky, G.M. Kontsevich, Ya.M. Tara-nenko. In terms of numbers, composition, exemplary organization, rare selection of voices and highly developed singing technique, the choir was considered the first in the Caucasus; neither the bishop's choir nor city singing associations could compete with it. Having first come to the Military Cathedral in 1860 as a ten-year-old boy, F.A. Shcherbina later described his impressions of what he heard: “I was especially struck by three songs - the cherubic triple “Lord, have mercy” and the concert... when the choir harmoniously and smoothly sang “Like the Cherubim” and transitions and alternations of voices began, when the clear voices of treble and altos... the voices of tenors rushed or suddenly the powerful singing of basses was heard, “For we will raise everyone to the Tsar.” I smiled unconsciously, as one sometimes smiles from the unexpected, but pleasant impressions... for at least half an hour, chords of sounds seemed to fill the entire cathedral, now thundering and sparkling like thunder, now falling like a soul-cleansing shower.” The singers in the military choir were Cossacks from different villages of the Kuban region. The knowledge and experience gained over the years of service in the choir gave them the opportunity, upon returning home, to earn a living as a regent of a local church or a singing teacher at a school.

At the turn of the 19th – 20th centuries. “spiritual concerts” of works by contemporary Russian composers based on church texts are becoming popular. The military choir introduced the Kuban residents to the works of P.I. Tchaikovsky, A.D. Kastalsky, A.A. Arkhangelsky, A.T. Grechaninov and other authors. Such concerts shaped listeners' interest in the new style of Russian sacred music and inspired the creation of choirs in the villages and cities of the region. The cathedral choir satisfied the aesthetic needs of the population, contributed to the understanding of music, and was also a musical and educational center that trained hundreds of choir directors and singing teachers.

After the formation of the Kuban Cossack Army in 1860, the “musical cavalry choir” - the former orchestra of the Caucasian Linear Cossack Army - was transferred to Ekaterinodar from Stavropol. It consisted exclusively of performers on brass instruments and performed the functions of a purely military orchestra with an appropriate repertoire. The military musical choir of the former Black Sea Army turned into almost a ballroom orchestra, performing mainly secular music Russian and Western composers. The presence of two orchestras in the army significantly expanded the forms of their participation in the musical and generally cultural life of villages and cities. In 1888, following the example of other Cossack troops, there was only one orchestra left in the Kuban - a musical choir of 36 musicians and 18 students. By this time the military and brass bands began to be created in the regiments and battalions of the Kuban Cossack Army, so the military musical choir retained its concert-ballroom character. By the end of the 19th century. with the increase in the string section of the orchestra, it was transformed into a symphony.

In the second half XIX century The foundations of musical professionalism in Kuban were laid by private home lessons, music classes in educational institutions and music clubs. At this time, amateurism and professionalism existed in conjunction, and the differences between them were often conditional. On November 1, 1906, classes began in music classes of the Ekaterinodar branch of the Imperial Russian Musical Society, where graduates of the St. Petersburg and Moscow Conservatories taught. Three years later music classes were converted into a school.

Masters of fine arts made an important contribution to the development of the artistic culture of Kuban. An original realist artist was Pyotr Sysoevich Kosolap (1834 - 1910). He graduated from the Pavlovsk Cadet Corps, during the Crimean War he commanded plastuns, and in 1861 he entered the Imperial Academy of Arts, in the class of plaster figures. In 1863, Kosolap’s painting “Madness” was exhibited at an academic exhibition, which was awarded a small silver medal. The image of a poor, crazy musician playing in a rotten attic next to the body of an old mother, amid the horrors of poverty and deprivation, literally shocked the audience. The following year P.S. Kosolap exhibited the painting “Return from Exile.” Only twenty years later this topic was brilliantly developed by I.E. Repin in the film “They Didn’t Expect”. For the unfinished canvas “The Last Minutes of Shamil in Gunib” at the academic exhibition in 1867, the jury awarded P.S. Clubfoot a gold medal. The successes of the Kuban artist gave him the right to participate in a competition for a big gold medal, but Kosolap, “due to the termination of his scholarship from the army,” was forced to leave for Yekaterinodar, where he continued military service and creative activity.

Visited regularly Black Sea coast Caucasian landscape painter of a realistic direction and an active figure in the Association of Traveling Art Exhibitions A.A. Kiselev. Several of his canvases - “Mountain Road” (1909), “ Still water"(1900), "Night at Sea" (1909), "Kadosh Rocks" (1902) - dedicated to Tuapse.

On the advice of the historian of the Zaporizhian Cossacks D.I. Yavornitsky came to Kuban in 1888 to meet with the descendants of the Cossacks. In the village of Pashkovskaya, he completed several dozen portrait sketches of Cossacks who took part in the Crimean War. After returning from Kuban, Repin completed his epic painting “The Cossacks Write a Letter to the Turkish Sultan.”

Fine arts centers in the Kuban region at the beginning of the 20th century. steel school of drawing E.I. Pospolitaki and Ekaterinodar Art Gallery. The Pospolitaki School was the first private educational institution in Kuban, where they studied not only drawing, but also crafts. Moreover, some of the students were educated at the expense of the school’s founder. The basis of the Ekaterinodar Art Gallery was the collection of a local art lover, Fyodor Akimovich Kovalenko (1866 - 1919). He was called the “Kuban Tretyakov”, he was famous person in Russia, was in correspondence with L.N. Tolstoy, I.E. Repin, N.I. Roerich.

In 1889, the Main Directorate of Cossack Troops reported famous sculptor Mikhail Osipovich Mikeshin “has the cherished heartfelt desire of all Kuban residents to see a monument to Empress Catherine II in their hometown of Ekaterinodar, bearing the name of its august founder.” Intense work on the monument continued until Mikeshin’s death, and only in 1907 was a colossal statue of the empress erected (together with smaller statues of Field Marshal G.A. Potemkin-Tavrichesky, Koshe atamans Sidor Bely, Zakhary Chepega, Anton Holovaty, as well as a kobzar with a guide). Mikeshin's masterpiece stood until 1920 and was dismantled in connection with the approaching anniversary of the October Revolution.

The architectural appearance of Kuban cities changed during the post-reform period. If in 1870 - 1890 the main style direction was eclecticism, then by the beginning of the 20th century it gave way to modernism. A notable contribution to the architecture of Ekaterinodar was Ivan Klementievich Malgerb. As a city architect, he supervised the construction of the buildings of the men's gymnasium (now the regional center for aesthetic education and humanitarian education), the diocesan women's school (medical academy), and the commercial school (academy physical culture). The priceless creations of Malherb were St. Catherine's Cathedral and the project of the Holy Trinity Church.

An outstanding Kuban architect was Alexander Petrovich Kosyakin (1875 - 1919). The son of an assistant ataman of the Kuban Cossack army, he neglected the brilliant military career, which opened before him, and entered the St. Petersburg Institute of Civil Engineers. After graduating and returning to Kuban, Kosyakin was soon appointed to the responsible position of military architect. One of his first significant works was the design of a three-story building for the Kuban Mariinsky Institute. It adorns the city to this day (now the Krasnodar Military Institute). In September 1906, in the village of Pashkovskaya, according to his design, the Church of the Entry into the Temple was founded Holy Mother of God. In its openwork, graceful architecture, this temple of God had no equal in the Kuban. According to the projects of A.P. Kosyakin, churches were erected in the villages of Kazanskaya and Slavyanskaya. Wonderful job The post office building also became an architect. Creations of A.P. Kosyakin created an urban “stone landscape” and did not get lost among other buildings of Ekaterinodar.

The powerful spiritual potential that accumulated in Kuban was, unfortunately, not always realized due to the remoteness of the region, the underdevelopment of the educational sphere, and the absorbing everyday life of provincial life.

Ekaterinodar was cultural center Kuban, but we should not forget that more than half of its population came from rural areas and retained traces of the traditional peasant mentality. The mass consciousness and spiritual culture of the population of the Kuban capital represented an inextricable whole.

There were several theaters in the city, one of the oldest was the Summer Theater, located on the territory of the city garden. Within its walls it hosted many metropolitan celebrities. The Maly Theater troupe performed on its stage the plays “Hamlet” by W. Shakespeare, “The Thunderstorm”, “Mad Money”, “The Last Victim” by A. Ostrovsky and others. In 1905, the famous dramatic artist Mammoth Dalsky performed with his troupe (with the tragedy Schiller "Don Carlos"). Five years later, the famous bass F. Chaliapin sang on the theater stage. The name of Kuban native V. Damaev was known not only in Russia, but also abroad. “In our tenorless times, one must grab hold of such a tenor with both hands,” F. Chaliapin spoke of Damaev. “He is a true dramatic tenor with excellent diction and undoubted talent.”

In 1913, the ballerina of the imperial theaters E. Geltser performed at the Summer Theater.

On the stage of the Summer Theater one could often see the military musical symphony orchestra, as well as the choir under the direction of E.D. Esposito. The works of P. Tchaikovsky, D. Verdi, M. Glinka, performed by them, attracted numerous listeners. But attending performances was available mainly to wealthy audiences

In 1909, two new theaters appeared in Ekaterinodar. The first theater season: Ms. Sperling’s opera troupe staged D. Verdi’s opera “Aida.” This was followed by productions of the operas “Faust”, “ Queen of Spades", "Dubrovsky", "Life for the Tsar" etc. In 1912 Concerts of the famous tenor L. Sobinov, the famous violinist B. Guberman and others took place in the premises of the Winter Theater. Following the Winter Theater, the Northern Theater was opened, on its stage the violinist K. Dumchev, the tragedian M. Dalsky, the Little Russian troupe S. Glazunenko and others performed .

Quite often, famous guest performers performed within the walls of the Second Public Meeting: pop singers A. Vyaltseva, N. Plevitskaya, composer-pianists A. Scriabin, S. Rachmaninov and others.

There were no professional theater troupes in Yekaterinodar, so amateur associations that arose at charitable societies and educational institutions of the city developed greatly. Performances were most often timed to coincide with some holiday or important event. If the performances were not of a charitable nature, then viewing them was free for everyone. The repertoire of amateur circles included such works as “The Minor” by D. Fonvizin, “Marriage” and “The Inspector General” by N. Gogol, “Poverty is not a Vice” and “ Plum» A. Ostrovsky. Sometimes amateur actors staged light, meaningless vaudevilles.

Summing up, we can state that the development of Kuban culture at the end of the 19th - beginning of the 20th centuries. took place in specific conditions characteristic of the multinational “young” outskirts of the Russian Empire. The rich traditional culture of the peoples of Kuban is being developed in a growing professional culture; the works of Kuban artists, writers, and musicians replenish the stock of national culture.

2. ART OF KUBAN IN THE SECOND HALF OF THE XX CENTURY

Significant positive changes occurred in the 1970s in the cultural life of the region. During these years, 5 theaters, 3 philharmonic societies, 180 music and art schools, 6 specialized secondary schools operated in Kuban. educational institutions culture, 1745 public libraries, 1879 club institutions. Farms and enterprises, using budget funds and their own profits, built 177 cultural institutions during these years, including clubs and houses of culture, cinemas, and libraries. At enterprises, farms, institutions and organizations, dozens of music schools, amateur groups, circus studios, ensembles, choirs.

The musical culture of Kuban was actively developing. The works of composers, especially G. Ponomarenko, N. Khlopkov, G. Plotnichenko, have become widely known outside our region. Invaluable contribution to the development of musical culture and study folk art contributed by the Kuban Cossack Choir under the direction of V.G. Zakharchenko, who collected and processed thousands of folk songs, published a unique musical literature, created talented original works.

The seventies became the time of creative takeoff for a number of theater groups in Kuban.

Krasnodar Drama Theater named after. M. Gorky staged the domestic and foreign classics, without ignoring the works of contemporary playwrights. Extraordinary stage solutions and original interpretations of plays have created the reputation of Krasnodar “drama” as an innovative theater. For staging the plays “Faust”, “Kochubey” and “The Old Man”, the theater’s chief director M. A. Kulikovsky was awarded the State Prize named after. Stanislavsky, and later the title of People's Artist of the USSR.

The artistic director of the Krasnodar Operetta Theater, Yu. Khmelnitsky, significantly updated the repertoire. Indicator of success creative teams drama and operetta theaters became increasingly popular with their performances and capital tours, which aroused an interested response in the theater press.

Krasnodarsky became famous during these years folk theater young spectators, headed by S. Troysky, and the Krasnodar Puppet Theater under the direction of A. Tuchkov.

We strived for fruitful work and creative unions. The works of writers from Kuban and Adygea are widely known and highly appreciated. V. Likhonosov (for the novel “Unwritten Memories”) and A. Znamensky (for the chronicle novel “Red Days”) were awarded the State Prize of Russia. I. Mash-bash (for the novel “Rolls of Distant Thunder”) was awarded the USSR State Prize.

The Krasnodar writers' organization united about thirty members of the USSR Writers' Union. Among them are talented poets V. Bakaldin, I. Varav-va, Y. Grechko, V. Nepoba, S. Khokhlov, famous prose writers I. Boyko, I. Zubenko, V. Loginov, L. Pasenyuk and others.

The regional organization of the Union of Artists included more than one hundred and twenty people. At zonal and all-Union art exhibitions, the works of V. Mordovin, G. Bulgakov, A. Kalugin, I. Konovalov, V. Msched and others were demonstrated with particular success.

However, the development of art, as well as the entire sociocultural sphere, was hampered by the harsh pressure of party-state control and ideological bias on the part of the relevant services of the region and the country as a whole.

3. ART OF MODERN KUBAN

Since 1992 (February - March) in Kuban, on the initiative of the Song Center of the composer G. Ponomarenko, created in December 1991, the Stars of Russia festival began to be held. In December 1992, the international festival “Culture Brings Nations Together” began its journey in Armavir. Since June 1993, the festival of symphonic and chamber music “Aeolian Strings” has been held in Kuban, in which the country’s leading ensembles take part.

In September 1991, the eighth All-Russian competition was held at the Krasnodar Operetta Theater pop song. In November 1992, another competition was held here. Later, the operetta theater was repeatedly the venue for All-Russian competition operetta artists, many of whose laureates joined the theater troupe.

October 1993 was the time of birth of the rock festival “Southern Wave”, in which, in addition to local groups, performers and groups who enjoyed love and respect in Russia took part. Since 1993 (September - October) in the municipal concert hall of the chamber and organ music The International Organ Music Festival began to be held with the participation of performers from Russia, Moldova, Latvia, and Germany. In October 1996, the First Kuban Ballet Festival took place.

Kuban performers and groups participated in many competitions and festivals in Russia and abroad and were awarded various prizes. Thus, the Kuban Cossack Choir received State Prize Ukraine named after T. Shevchenko. In February 1993, the Kuban Days were held in the Moscow Sovintsentr. In 1994, the Krasnodar Puppet Theater (artistic director A. Tuchkov) took first place at the Kazan Theater Festival. Actresses of the Krasnodar Drama Theater I. Makarevich and A. Kuznetsova became laureates of the “Acting Stars of Russia” festival in Belgorod. The Gelendzhik theater "Tor Ricos" received an award in Spain for the play "The Love of Don Perlemplin." A native of Kuban, S. Zhenovach was awarded the theater prize " Golden mask"for directing.

A lot for popularization theatrical arts the organizers did theater festival, held in Krasnodar. Sometimes not only Kuban theaters took part in it (drama theater, operetta theater, Torricos, Armavir and Maykop theaters, etc.), but also theater groups from Moscow and St. Petersburg.

Since 1991, the Kinotavr film festival began to be held in Sochi. At first it had the status of a Russian open one. Since 1994, Kinotavr has become international festival. The premieres of many films took place here, which subsequently received numerous international awards.

In September 1992, the Russian film festival “Kinoshok” was held for the first time in Anapa. Since 1994, it has become a festival of the CIS and Baltic countries. All former republics of the USSR had the opportunity not only to demonstrate their achievements, but also to hold seminars and scientific and practical meetings on issues of cinema and film distribution within the framework of the festival. If at first there were films here that “shocked” the public and specialists, then over time Anapa became a place for viewing authentic works of cinematography from countries former USSR. The film festival opened up the opportunity to exchange experiences of surviving in the conditions of commercialization of cinema and finding ways to reach audiences in a situation of a deep crisis in film distribution.

Of the dozens of festivals regularly held in the CIS and the Baltics, only Kinotavr and Kinoshok managed to maintain a high level of selection of film works and organization of work with the cinematic community and film lovers. This is also due to the fact that both festivals enjoy significant support from the administration of the Krasnodar region.

In addition, festivals were held in Adler (entertainment films) and Gelendzhik (detective films). The regional center also did not remain aloof from the festival cinematic life. In October 1993, the First Krasnodar International Film Festival-film market for films in the comedy and musical genres took place. The second festival took place in 1996.

Film festivals were not limited only to competitive and non-competitive programs. Participants of the festivals, among whom were famous actors, including Kuban people by origin (N. Mordyukova, L. Malevannaya), young “stars”, met with the audience, introduced them to the latest in Russian cinema. In this way, domestic cinema maintained contact with the public in times of crisis.

In the 1990s, the Kuban folklore festival gained popularity. Golden Apple" Since February 1993 in the hall of the Krasnodar Higher music school-college them. ON THE. Rimsky-Korsakov began to hold the festival “Ekaterinodar musical meetings", and from May of the same year - "Kubanskaya musical spring" In May 1994, the Municipal Concert Hall of Krasnodar entered the association of the best concert halls Russia.

All this contributed to the growth of Kuban residents’ interest in art and increased the number of visitors to concert and theater halls.

In the 90s, writers V. Likhonosov and A. Znamensky, well-known outside the Kuban, were noted for their works written during this period literary prize them. M. Sholokhova.

In 1993, the All-Kuban Cossack Army established the Y. Kukharenko Prize in the field of literature and art.

At the end of the 1980s, it was inaugurated in Krasnodar Literary Museum Kuban (in the house of Y. Kukharenko, famous public figure XIX century). The museum workers became not only guardians of the traditions of the past, but also popularizers of the modern literary potential of Kuban. Meetings take place here, during which creative plans and new works are discussed.

Kuban theaters worked hard. All this time, the Torricos Theater existed in Gelendzhik, demonstrating its performances at various festivals in the country and abroad, where its performances were always a success. The main drama theater of Kuban received the title of academic in 1996. His team built its repertoire on the basis of the works of N. Gogol, F. Dostoevsky, A. Chekhov, M. Gorky, M. Bulgakov, L. Leonov, and the Kuban poet I. Varabbas. The musical theater staged fiery operettas by F. Lehár, J. Kalman, J. Strauss, as well as operas. Plays were created especially for Kuban theaters, and the country's leading directors came here.

Already in the late 1980s, a chamber choir was organized under the direction of V. Yakovlev at the Krasnodar regional branch of the Union of Composers of Russia. The choir, whose repertoire was based on Russian classical and sacred music, works by modern composers and arrangements of folk songs, quickly reached a high professional level and became a philharmonic group. Since 1992 it has been the Krasnodar State Chamber Choir.

The State Kuban Cossack Choir under the direction of People's Artist of Russia and Ukraine V. Zakharchenko has gained wide popularity in the country and abroad. On its basis, the Kuban Folk Culture Center was created, at which a children's experimental school of folk art was organized.

In the 90s, the titles “Honored Artist of Kuban”, “Honored Worker of Culture of Kuban”, “Honored Artist of Kuban”, “Honored Worker of Cinema of Kuban” were introduced.

Since June 1992, the Krasnodar Center has been actively working national cultures. It was intended to “promote the formation national identity, more complete and deep development and mutual enrichment of traditional cultures different nations, uniting their efforts to protect universal human values, solving humanitarian and cultural problems.”

In the early 1990s, new television companies began to appear. Along with the Kuban State Television and Radio Broadcasting Company, Pioneer, Foton, ABC, Kontakt and others were broadcast. They created original programs dedicated to the cultural life of the region. Since 1996, a festival of television programs from the South of Russia has been held. In 1997, an advertising festival of the South of Russia was held in Krasnodar.

In 1990, the Krasnodar creative association “Premiere” was created, which initially existed as a touring musical theater. Gradually, the composition of the association, the leader of which became National artist Russia L. Gatov, has expanded significantly. It included the Kuban Symphony Orchestra, organ Hall, Youth theater, New theater dolls and other groups.

Since the early 1990s, there has been a flourishing of fine arts. The predominance of color over form, bright decorativeness and monumentality, poetry and festivity - these are the features that distinguish the works of Kuban painters. Community of territory abundant sunlight, availability in Krasnodar art school and the art and graphic department of the Kuban State University (most of the Kuban painters and graphic artists are their graduates) determined the closeness aesthetic principles, which are the basis of the original Kuban school of fine arts.

Art Museum, showroom, commercial galleries allowed Kuban artists to introduce their work to their fellow countrymen and guests of Kuban. Almost all the masters took part in exhibitions of the local branch of the Union of Artists of Russia. The works of artists: O. and L. Blokhin, A. Parshkov, E. Kazitsyn, works of sculptors A. Apollonov, A. Karnaev and others aroused great interest among specialists and the public.

Turning points in history are often regarded as not the best time for cultural development. But this occurs if “development” is understood as climbing the steps of progress. However, in art criticism a different understanding of the term “development” has become established, returning to the original meaning of the word: development as change. With this approach, any turning point can be considered as a period of a surge of interest in culture in all its manifestations. On the one hand, there is the lack of large material resources capable of supporting, as a rule, always an unprofitable cultural space, on the other, an invincible desire to create and create imperishable values ​​for people that do not deny the past, but complement it.

In the early 90s, the focus on a single ideological justification for cultural processes gradually became a thing of the past. However, the lack of common ideological messages caused confusion, first among the subjects of the cultural space themselves, and then among those who formulate cultural policy. This was expressed in the search for new foundations of collective self-identification. Their support was a return to traditions associated with patriotism, love of the Motherland, and historical values.

Pluralism in approaches to cultural development is reflected in the variety of forms of cultural life associated with the national, religious, demographic and, in general, the sociocultural identity of the region. All this gave rise to heated discussions about the fate of culture. Lamentations about a deep spiritual crisis are countered by optimism associated with the emergence of new opportunities to introduce people to cultural values. The phenomenon of mass culture does not always evoke an adequate reaction both in official circles and among representatives of other groups of the population; the problem of protection and preservation remains very acute. cultural heritage of the past.

However, in general, it can be noted that thanks to the changes that have taken place, the cultural life of Kuban has become richer and more diverse.

CONCLUSION

Krasnodar region stands out as special Cossack culture, in Krasnodar there is the State Cossack Choir (by the way, famous all over the world) and the Kuban Folk Culture Center. There are drama, operetta, puppet theaters, a philharmonic society, a circus, museums, and a university. There is a planetarium in Novorossiysk. With a rich history and beautiful nature, the region has on its territory a huge number of diverse historical, cultural, archaeological and natural attractions, especially on the Black Sea coast.

BIBLIOGRAPHY

Bransky. Art and philosophy. Kaliningrad, 1999.


1. Gorlova I.I. Cultural policy V modern Russia: regional aspect. Krasnodar, 1998.
   System of social and cultural institutions THE PHENOMENON OF ARTISTIC CULTURE AND FACTORS AFFECTING ITS DEVELOPMENT

   2014-12-06

Kuban painting of the 19th – early 20th centuries is like a ghost: it seems to exist, but few people have seen it. Pyotr Kosolap and Isidor Strokun, the largest local artists of that time, rest in the All Saints Cemetery in Krasnodar; their paintings are practically unknown in their homeland. Journalist Vladimir Begunov decided to fill the gap and find information about two prominent representatives of the unknown Kuban classics and avant-garde.

The first Kuban artist

Peeling canvas from the Tretyakov gallery

Two weeks after the search began, I received a response to one of my requests. In the Tretyakov Gallery they found a painting by Peter Kosolap and sent a photograph of it. Before this, it was known only by its title (inaccurate) and date of writing (incorrect). Perhaps I and the museum employee who photographed it were the first to see this painting in the last century and a half. It is called “The Return of the Exile” (1863). Articles about the artist include “Return from Exile” and a date a year later. For this painting Kosolap received a silver medal from the Imperial Academy of Arts in St. Petersburg.

The canvas is in very poor condition. Although the general composition is readable, the details from which the artist’s style was formed are lost. According to Tretyakov Gallery employees, the painting is now under restoration, but it will no longer be possible to give it an exhibition appearance. Research fellow at the Tretyakov Gallery Sofya Aksyonova says that this is the only painting of Crookshanks that they have. Apparently there were no others. This means that the mention of three canvases by the artist stored in the Tretyakov Gallery, which is found in articles about Kosolap, is another broken thread in my search.

One and a half surviving canvases and a monument built according to his drawing - that’s all that has come down to us from the work of the first professional artist of Kuban. Even his grave at the All Saints Cemetery is lost.

Kosolap was sent to the capital to study painting in 1861 by Kuban Cossack army. At that time, Pyotr Sysoevich was 26 years old, he was a veteran of the Crimean and Caucasian wars.

The artist was born into a Cossack officer family, graduated from the Pavlovsk Cadet Corps and fought as part of the Plastun hundred. The army paid for the veteran's education at the Imperial Academy of Arts. For the painting “Madness. The Mad Violinist at His Mother’s Body” (1863) Kosolap received the first silver medal of the Academy. Now this painting is kept in the Russian Museum of St. Petersburg. Before my search began, this was his only known work.

Peter Kosolap. "Madness. The mad violinist at his mother's body" (1863)

Canvases from which only names remain

Authors of the book “Ekaterinodar - Krasnodar. Two centuries. Materials for the Chronicle” write that during their studies, in addition to “Madness” and “Exile”, the Academy’s award was given to Pyotr Kosolap’s painting “The Last Minutes of Shamil in Gunib” (1867). Also in articles about the artist you can find the names of the paintings: “Plastuns on the Black Sea Coast”, “Murids convince Shamil to surrender to the Russians”. The latter is supposedly a collective work of students of the Imperial Academy, to which Crookshanks had a hand. It was not possible to find out any other information about these paintings.

Professor Viktor Chumachenko explains the loss of Pyotr Kosolap’s legacy by the fact that he almost never exhibited during his lifetime and his works almost completely ended up in private collections.

Fedor Obmaikin / Yugopolis

Kosolap did not finish his studies at the Academy of Painting. The army recalled him to Yekaterinodar, and he had to serve for several more years. The reasons for this decision are not clear. The artist became an esaul, was awarded the Order of St. Stanislaus, III degree, St. Anna, IV degree, and medals “For Bravery” and “For the Conquest of the Caucasus.” After leaving service, he taught calligraphy and calligraphy for three decades at the Kuban Mariinsky Women's School. Died at 76 years old.

In 1872, during the celebrations in honor of the bicentenary of Peter I, Kosolap presented at an exhibition in Moscow drawings of uniforms of lower ranks and Cossack officers and a picture of a fight between plastuns and highlanders. In addition, Pyotr Kosolap won the competition to design a monument to the centurion Grechishkin, whose detachment in September 1829 entered into an unequal battle with the highlanders in the Wolf Gate gorge near the village of Tbilisskaya.

Ekaterinodar animation of the 19th century

One of the references to Pyotr Kosolap can be found in the Kuban Regional Gazette for June 1899. At that time, Pushkin’s centenary was celebrated en masse throughout the country. In Yekaterinodar, the Pushkin evening was held at the Summer Theater, located in the City Garden. The program included lectures, performances by the choir, orchestra, and drama group. The newspaper also reported that “the artist Kosolap demonstrated his “living paintings” on Pushkin themes.”

“Living Pictures” was a popular entertainment at that time, invented by the Englishman Eadweard Muybridge. This is cinema before cinema. The photographer took several photographs of an object in motion. Then he installed them in a circle in a special apparatus. The circle rotated, and the viewer, looking through a special window, could see in each device one moving picture: marching soldiers, a galloping horse, a running dog, etc.

In Yekaterinodar, the first sessions of “living paintings” with photographic plates were conducted back in 1894 by local inventor Alexey Samarsky. Most likely, Kosolap borrowed the performance equipment (“chronographs”) from Samarsky. We will never know for sure what the artist showed, but we would venture to assume that it was an animation from the poet’s life: Pushkin walked along Nevsky, read poetry in the salon, danced at a ball and fell into the snow, struck by Dantes’ bullet. More complex plots It was impossible to show using that technology.

That day, at the Summer Theater, the evening's gathering, according to the Kuban Regional Gazette, exceeded a figure “that no theatrical performance in the city has reached for a long time over the past four to five years.”

Grandiose monument

The last project in which the artist participated became his most famous creation in Kuban. In 1892, in Taman they decided to erect a monument in honor of the centenary of the landing of the Cossacks on the lands granted to them by the empress. The competition was won by the drawing of Peter Kosolap. Subsequently, the sketch was approved by the emperor.

budetinteresno.info / myekaterinodar.ru / travel.ru

But work on the monument was delayed, there was not enough funds, the required 25 thousand rubles were collected in cities and villages. The monument to the landing of the Cossacks on Taman was opened and consecrated only in 1911. The artist died a year earlier.

There is not a single work by Pyotr Kosolap in the museums of Kuban; only the monument to the Cossacks in Taman, made according to his drawing, has survived.

Repressed avant-garde artist

A call from the daughter of an “enemy of the people”

At first there was disappointment. A letter was sent by email: “Vladimir, unfortunately, I can’t send the phone number of Isidor Strokun’s daughter, I only found her Chernigov address...”

Yes, I don’t have the opportunity to go to Ukraine to finish the material, I thought and went to lunch. And when he returned, he found another letter: “It turned out that she lives very close,” wrote Victoria Alexandrovna, secretary of the Chernigov Regional Art Museum. “When I was going to lunch, I went to her and got her phone number.”

- Lyudmila Isidorovna, good afternoon, I am a journalist from Krasnodar, writing about your father...

– Vladimir, I am pleased that people will learn about my father’s work in Krasnodar. He is buried there, at the All Saints Cemetery. When my father died, I was five years old, I collected information about him bit by bit...

Malevich's student

Isidor Strokun worked later than Kosolap, in the 1930s and 1940s. There are no paintings of him in Kuban, but in Ukraine, in the Chernigov Regional Art Museum named after. G. P. Galagan had his large personal exhibition three years ago. The artist’s relatives from Russia and Ukraine came to see it.

In the Red Army book of the soldier Isidor Strokun it is written that he was born on February 4, 1900 in the village of Pashkovskaya, Ekaterinodar branch of the Kuban region.

The father of the future artist was a handicraftsman. Isidore was the eldest of seven children. He studied first at an art school, then at an agricultural school, then at the Kuban Polytechnic Institute. In the end Civil War A twenty-year-old boy volunteered for the Red Army. When the Soviet regime won, Strokun returned to his studies. He graduated from the Krasnodar Art and Pedagogical College with a degree in “artist-teacher” and the pedagogical faculty of the museum department of the Kyiv Art Institute. At this time, Kazimir Malevich taught at the institute. Strokun was fond of painting and could not help but attend lectures by the founder of Suprematism. In some of Isidor Strokun’s paintings one can feel the influence of the author of “Black Square”.

Isidor Strokun with his family (1936)

Defender of Chernigov churches

After studying, the artist first worked as an employee of the Krasnodar Historical Museum, and in June 1931, the People's Commissariat of Education of Ukraine appointed him director of the Chernigov State Museum-Reserve. This appointment was due to the fact that Strokun, while studying in Kyiv, successfully worked as a researcher at several museums.

The artist got involved in his work: he gave lectures in clubs and enterprises, led excursions, but his main efforts were aimed at preserving monuments during that terrible time.

Isidor Vasilyevich achieved the inclusion of several churches and monasteries that were on the verge of destruction into the reserve. The monograph by Danilo Rigi, “Strokun - Defender of the Monuments of the State Chernigov Historical and Cultural Reserve in the 30s of the 20th Century,” published in Ukrainian, says that at that time a training and construction plant became the owner of one of the monasteries in Chernigov. The management of the plant rebuilt the monastery complex in its own way. In another monastery, the zoo station built silage pits and demolished many historical burials. Strokun managed to include these objects in the reserve, put one of the churches under conservation, transfer another one for archival storage, and thus save it from destruction.

Isidor Strokun at work (1936)

Local authorities opposed this work in every possible way; once the director of the reserve was even arrested, and he spent twenty days in a cell. The artist’s daughter tells the details of this arrest:

“The authorities wanted to turn the churches into granaries, but my father was against it. So they imprisoned him. While he was in prison, the authorities still did their own thing. Before collectivization, every peasant stored grain at home. After the formation of collective farms, huge storage facilities were needed. Churches were adapted for them. Grain in such large volumes in an unsuitable room caked and began to burn. The frescoes were destroyed. My father was categorically against such barbarism, but who listened to him?”

In 1933, the Chernigov nature reserve was liquidated, and Isidor Strokun left for Sochi, where he lived for several years.

Lost Sochi Stalin

The earliest surviving paintings by Strokun date from the Chernigov period. He worked, in addition to the then dominant socialist realism in the USSR, in the style of “bourgeois” constructivism and art deco. There were also ethnic motifs and sketches of carpets in his work.

Isidor Strokun. "Two" (1930s)

In Sochi, according to the recollections of the artist’s daughter, Strokun painted two five-meter genre canvases; his wife Sofia worked at the Caucasian Riviera sanatorium; at that time they had two children - daughter Susanna, five years old, and son Larion, two years old. The last mention of the artist before his arrest was found in the Kurortnaya Gazeta dated February 10, 1939, in a note about an exhibition of Sochi artists: “I. Strokun is currently working on a large canvas – “I.V. Stalin is the initiator of the reconstruction of the Sochi-Matsesta resort." Strokunov was not helped by his work on the canvas glorifying the leader of the peoples. In the same 1939, the artist and his family were exiled to Yakutia on charges of belonging to “a counter-revolutionary nationalist organization, slandering the All-Union Communist Party (Bolsheviks) and the Soviet government.” The picture about Stalin itself has sunk into thin air.

“The fact that Strokun’s paintings are not in Kuban museums is quite understandable,” says Professor Viktor Chumachenko. – During the war, Kuban museums were planned to be the last to be evacuated and did not have time. They were plundered, and all their collections were post-war years They practically started collecting again.”

Picture from link

The artist was arrested in April 1939. At that time, Strokun was lucky - he was given only five years of exile. The wife of the “enemy of the people” was moved from a good apartment to a small room, which was robbed a few days later. Having pushed around and gathered her children, Sofia Strokun, like the wives of the Decembrists, went to her husband in Yakutia.

In the correctional camp in the city of Aldan, where the artist was sent, Strokun worked as a sculptor and ceramics technologist in the production of tableware. The landscape of that period has been preserved. This has its own symbolism: a painting by a free artist - a hymn to Stalin - has been lost, but the simple landscape painted by an exile is alive.

Isidor Strokun did everything in his life: he taught drawing and French, painted pictures, erected monuments, saved museums, and in 1943 he had to design and launch a furnace for melting lead. They began to build a plant at the neighboring Lebediny mine; there was a shortage of personnel and there was a war going on. The artist mastered the technology and even introduced his developments into the production of lead from local galena.

Isidor Vasilyevich returned from exile after the war, settled in Chernigov, and was engaged in sculpture. Among his works are a bust of the Red Civil War commander Nikolai Shchors and the heroine of the Great Patriotic War Zoya Kosmodemyanskaya. According to his daughter’s recollections, Isidor Strokun restored a monument to Lenin destroyed during the war in Chernigov.

“Father’s name could not be mentioned,” recalls Lyudmila Strokun. – I went to school in the village of Stary Belous, Chernigov region, past the monument to eleven civilians burned alive by the Nazis. I only learned at the age of 37 that the author of this monument was my father.”

At that time of famine, instead of paying the sculptor a fee for this monument, the collective farm allocated a vegetable garden where the artist sowed millet.

In Chernigovoe, Strokun worked as an artist in the historical museum and led an art group in the House of Pioneers. At the end of his life he returned to Krasnodar and got a job as head teacher at an art school.

“He had a strained relationship with the headmistress; she couldn’t stand him,” says Lyudmila Isidorovna. “My father suffered from this and until the end of his life he bore the stigma of being an “enemy of the people.”

The grave of Isidor Strokun (far right) in Krasnodar

Vladimir Begunov / Yugopolis

The artist died on December 8, 1953. During the preparation of the material, it turned out that the grave of Isidor Strokun had been preserved. Krasnodar relatives try to keep it in order, although the cemetery is constantly overgrown and often the path to the artist’s grave has to be cut through the bushes in the literal sense of the word.

The author expresses gratitude for the assistance in preparing the material to the State Tretyakov Gallery andChernigov Regional Art Museum named after. G. P. Galagan. Photos of paintings by Isidor Strokun, which we are publishing today, were provided by the deputy director of the Chernigov Regional Art Museum. G. P. Galagan based on the scientific work of Elena Ponomarevskaya.

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Slide captions:

"Artists of Kuban"

Mystery. There is such a smooth side: Rivers without water, meadows without grass, Forests without trees, People without fruit, Although there are a lot of people, But no one works. Painting

Lesson objectives 1. Get acquainted with the works of Kuban artists. 2.Learn to analyze pictures. 3. Reinforce the concept: “genre of painting” 4. Perform creative work.

Genres in fine arts: still life, landscape, animalistic, everyday, historical, battle, portrait.

A still life is an image of various objects, things, united in a group with a specific plot. Translated from French means objects of inanimate nature.

S. Vorzhev “Kuban still life” Still life S. Vorzhev “The smell of lilacs”

Landscape - translated from French - a view of the countryside. This is a picture of nature.

S. Vorzhev “Salty Farm” Landscape “Young Frost”. The steppe hid in the snow, Frost trembled on the branches, Young Frost rode into the village of Likho on a sleigh.” Vladimir Nesterenko. “...You don’t remember a big country that you traveled and got to know. You remember the Motherland as you saw it as a child.” Sergey Yesenin. S. Vorzhev “First Snow”

Everyday genre - images of paintings of everyday life of people by A. Bruno “Spring of the Old Town”

Animalistic genre - from the Latin “animal” - image of animals.

N. Kalugina “Foal” “Foal”. A foal runs in the steppe along a path - Silk neck, chiseled legs. E. Shchekoldin. Animalistic genre

A portrait is an image of one person or several people.

Describe the portrait according to plan: 1. Who is depicted in the picture? 2.Pose. 3. Clothes. 4.Hairstyle. 5.Background. 6. Things around him.

Portrait of V. Sidorov. Portrait of I. Varabbas Ivanov S.S. A. A. Golovaty

Icon - from Greek “eikon” means “image”.

Saint Sergius of Radonezh ICONS BY VLADIMIR BUTOV Image of the Blessed Virgin Mary of Vladimir " Mother of God standing on the throne, holding Jesus Christ in her arms. Rejoice, people, Christ will be with you..."

What genre does the artist's painting belong to? Ivanov S.S. "A. A. Golovaty" Portrait of A. Bruno "Spring of the Old Town" household S. Vorzhev "Salty Farm" - landscape S. Vorzhev "The Smell of Lilac" - still life N. Kalugin "Foal" - animalistic

Homework: Complete a drawing on the topic “Landscape of native nature.”