Russian painting (XIX—XX centuries)

Karl Brullov (1799—1852) was Russia's first all-round artist, and because of this he will always remain important; even today, when tastes are dominated by the appeal of a very different style, the pictorial qualities in many of his pictures, and especially in his portraits, are clearly evident.

The artistic life of the country was then entirely controlled by the Academy of Fine Arts (established in 1754). The Academy had proclaimed that "art must aim at revealing virtue, at im­mortalizing the deeds of the great men who deserve the nation's gratitude, and at encouraging the heart and mind to emulate them", and historical painting became part of the Academy's curriculum. Unfortunately the themes were invariably drawn from mythological or classical sources, and were therefore de­void of any sense of actuality. "The Rider",

The academic outlook was deeply rooted in Brullov, yet, like so many of his contemporaries, he too often responded to the canons of taste created by the Romantic movement, though his training saved him from succumbing to excessive sentimentality, as did many of his contemporaries. "The Rider", by Brullov, 1833, shows the artist at his best, revealing his technical mastery, his fine sense of composition, and his feeling for elegance and grace. The Romantic spirit which pervades the painting enhances its appeal, for it is devoid of the sentimentality which marks so many paintings of this period.

Indeed, only two painters, both of them the sons of serfs, were true Romantics who succeeded in imbuing their worlds with the Byronic spirit without ever turning it into a formula. One was Orest Kiprenski (1782—1236). His genius carried him to the Academy and his work is as a result very accomplished, but it is owing to his innate artistic abilities that it is also al­most always interesting. Passionate in his approach and endowed with a better sense of colour than most of his contemporaries, his portraits are not only valuable records of the period, but of­ten also true works of art. Vassili Tropinin (1776—1857) was another Romantic to receive his training at the Academy, but he remained throughout his life a leas well-educated man than Kiprenski. This limitation is reflected in his paintings which, though profoundly sincere, and as such important to the histo­rian, have not the same aesthetic value as Kiprenski's works.

I. Translate the italicized words and phrases. Give a back translation without consulting the text.

II. Complete the following sentences using the text as a guide.

1. Brullov's training saved him from... 2. "The Rider" by Brullov reveals... 3. The Romantic spirit which pervaded the painting... 4. The works of Orest Kiprenski und Vassili Tropi­nin are imbued with... 5. Kiprenski's works are almost always interesting owing to... 6. The Academy of Fine Arts proclaimed that "art must aim at..." 7. The artists were obliged to paint on themes drawn from...

III. Find the English equivalents for

техническое мастерство; тонкое чувство композиции; рабо­ты, проникнутые духом романтизма; его работы более совер­шенны; он поступил в Академию благодаря своему таланту; быть наделенным чувством цвета

IV. Answer the following questions:

1. What place does Karl Brullov occupy in Russian art? To what trend does his art belong?

2. What qualities of Brullov's art does "The Rider" reveal?

3. Who was Orest Kiprenski? What is the general impression of his works?

4. How does the work of Tropinin differ in quality from that of Kiprenski?

5. What was the aim of art according to the Academy of Fine Arts?

6. Why did so many well-known painters rebel against the themes set in the classes at the Academy of Fine Arts?

V. Retell the text in great detail.

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