"In the stables". A. Morozov

"In the stables". A. Morozov
oil on canvas, size 36,3 x 47.2
In the stable. 1880-90-ies

Author: Alexander Morozov (1835– 1904)

EXAMINATION of the STATE TRETYAKOV GALLERY and the STATE RUSSIAN MUSEUM

A. I. Morozov left not a lot of pictures, since my life was forced to make tedious work: for thirty years he taught drawing at the School of jurisprudence in St. Petersburg, gave private lessons, doing custom portraits (sometimes with photos), painted icons.
However, almost all his paintings are characterized by high levels of scenic and now exhibited in major national museums.
In his youth, frost tried to keep up with the times: was a member of the "revolt of fourteen", headed by I. N. Kramskoy, and left OH in 1863; became one of the founding members of the St. Petersburg artel of artists (1863-70).
First of Morozov's criticism, and the audience took very kindly. The painting "leaving the Church in Pskov" (1864) V. V. Stasov praised as one of the first mass scenes where the main characters all depicted, critic found it "truth of life" (especially the juxtaposition of wealth and poverty). The young I. E. Repin and V. D. Polenov admired the thoroughness of working with nature and skill transfer bright sunlight. The painting was bought by P. M. Tretyakov, as well as the following critically acclaimed work - "rural free school" (1865). In it Morozov depicted his wife and her friends dealing with the peasant kids in a village hut. However, after the 1860s Morozova forget for a long time he goes into the shadows.
With TPHV relationship had never happened - probably because his gift did not correspond to the socio-accusatory toward art of the Wanderers. It attracted more than nature, and in its harmonic, that is, peaceful, perfect, "eternal" state. Man he was thinking in full communion with nature. And Outlook and artistic method, Morozov was only in the second half of the nineteenth century the successor venetsianovskoy tradition, because the criticism of the turn of the century A. N. Benoit, I. Grabar and called him a "belated venetsianova". These are his painting "haymaking" (two versions - approx. 1860 and 1861), "Summer day. Gatchina" (1878), "Field of green rye" (1880), "a rented room care" (1898). In the beginning of XX century this tradition have turned, each in his own way, K. S. Petrov-Vodkin and 3. E. Serebryakova, Boris Kustodiev and A Catfish.
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