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Ivan Ivanovich Shishkin

Great Russian artist, master of landscape, “king of the forest”

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Shishkin is a folk artist. All his life he studied Russian, mainly northern forests, Russian trees, Russian thickets, Russian wilderness. This is his kingdom, and here he has no rivals, he is the only one. V. V. Stasov
In the treasury of Russian art, Ivan Ivanovich Shishkin has one of the most honorable places. The history of the Russian landscape of the second half of the 19th century is associated with his name. The works of the outstanding master, the best of which have become classics of national painting, have gained enormous popularity.

Among the masters of the older generation, I. I. Shishkin represented with his art an exceptional phenomenon, which was not known in the field of landscape painting in previous eras. Like many Russian artists, he naturally possessed enormous natural talent. No one before Shishkin, with such stunning openness and such disarming intimacy, told the viewer about his love for his native land, for the discreet charm of northern nature.
“There should be no falsehood in a drawing of nature. It’s all one thing to fake in prayer, to utter foreign and foreign words,” thought Ivan Ivanovich Shishkin, Academician (1865) and professor (1873) of painting at the St. Petersburg Academy of Arts, and consistently embodied this idea in his famous canvases.

The future artist was born in Yelabuga. His father, a merchant of the second guild, a city elder, was a great zealot of antiquity, was fond of local history and archeology, and published the book “The Life of the Elabuga merchant Ivan Vasilyevich Shishkin, written by himself in 1867.”
The artist's mother, Daria Romanovna, was from a bourgeois family. After getting married, she devoted herself to her home and six children. The Shishkins' parental house stood on the high bank of the river. Toyma, from the windows you could see the place where it flowed into the Kama, and around there were lakes, water meadows, oak groves and centuries-old pine forests. All this developed the boy’s poetic imagination.
The family noticed the younger Vanechka’s passion for paints early on and at one time called him “mazilka.”

The father gave his son a varied education and, in addition to the district school, sent him to various teachers and subscribed to serious scientific books and magazines.
In 1844 he entered the First Men's Gymnasium of Kazan. Vanya studied diligently, but in 1848 he left the gymnasium early (from the fourth grade) and returned to Yelabuga. He hated the bureaucratic life, and he was unsuitable for merchant affairs. But the sketches of the forest banks of the Kama and the “Devil’s Settlement” delighted everyone. The father prescribed art books for his son. And eighteen-year-old Vanya wrote in his notebook: “To devote oneself to painting means to abandon all frivolous activities in life.” He decided to study to be an artist.

In 1852 Shishkin entered the Moscow School of Painting, Sculpture and Architecture. He took his studies seriously and worked tirelessly. His first landscapes from life earned universal praise.
Many people advised Ivan to abandon landscape as a lower and unprofitable form of painting, but, having once chosen his path, he never turned away from it.
Despite his silent disposition (his comrades gave him nicknames: Monk, Seminarian), he had many friends: A. Gine, V. Perov, E. Oznobishin, K. Makovsky. After graduating from the Moscow School, with a heavy soul, Shishkin parted with his friends and beloved teacher A. N. Mokritsky, deciding to continue his studies at the St. Petersburg Academy of Arts.

In 1856, Shishkin entered the St. Petersburg Academy of Arts, studying in the class of S. M. Vorobyov. But he did not like the academic and romantic style of teaching landscape. Ivan turned to the works of Russian artists A. Matveev and S. Shchedrin, abandoned the classical landscape and took up living nature.
Shishkin quickly stood out among his students for his preparedness and brilliant abilities; he was attracted by a thirst for artistic exploration of nature. He focused his attention on fragments of nature, and therefore carefully examined, probed, studied every stem, tree trunk, trembling foliage on the branches, perked grass and soft mosses. The artist discovered a vast world of unremarkable components of nature, previously not included in the circulation of art.

Just over three months after admission, he attracted the attention of professors with his full-scale landscape drawings. In 1857, he received two small silver medals - for the painting “In the vicinity of St. Petersburg” (1856) and for drawings executed in the summer in Dubki.
Shishkin's graphic skill can be judged by the drawing "Oak Oaks near Sestroretsk" (1857). Along with the elements of external romanticization of the image inherent in this large “hand-drawn picture”, it also has a feeling of the naturalness of the image. The work shows the artist’s desire for a plastic interpretation of natural forms and good professional training.

“Oak trees near Sestroretsk” (1857)

Valaam became a real school for Shishkin, which served as a place for summer work on location for academic landscape painting students. Shishkin was fascinated by the wild, virgin nature of the picturesque and harsh archipelago of the Valaam Islands with its granite rocks, centuries-old pines and spruces. Already the first months spent here were for him serious practice in field work, which contributed to the consolidation and improvement of professional knowledge, a greater understanding of the life of nature in the diversity and interconnection of plant forms.
He receives a large silver medal for his pen drawings and pictorial sketches of Valaam - “Pine on Valaam”, “View on the Island of Valaam”. They smelled of abandoned, wild beauty, powerful spiritual strength, the severity and grandeur of nature. Exhibited in Moscow, they were immediately sold, and the artist received big money for the first time.

"View on the island of Vlaam"

Captivated for life by the views of Valaam, he often came to the island alone or with friends, spent the summer in the monastery, and it seemed that the spiritual power of the earth became consonant with the power of his brush, and the painter and his personality dissolved in natural harmony. The national landscape became the basis of Shishkin’s work, but, like a real talent, he doubted the correctness of his chosen path.
And only in 1860, having graduated from the Academy of Arts and received a large gold medal and the right to a pensioner’s trip abroad for the large canvas “Cucco” (the tract on Valaam), Ivan Ivanovich believed in his own strength, but did not decide to go right away, but returned to Yelabuga, having pleased his parents with the title of “class artist of the first category.” Over the summer, he “wrote up to 50 different paintings using glue and oil paints.” Among them are “Shalash”, “Mill in the Field”

"Mill in the Field"

"Shalash"

In April 1862, Ivan went on a retirement business trip to Germany. Lives in Berlin, Dresden, Prague, Munich. From March 1863 - in Zurich. Studied in the workshop of R. Koller. In 1864 - Paris. Together with L. L. Kamenev and E. Dyukker he works in the Teutoburg Forest in the open air. In 1865 he settled in Düsseldorf. He is engaged in lithography.
In Europe, the desire to work disappears; there was no nature to his liking: the views of Germany, the Czech Republic, Belgium, Holland, and Switzerland did not inspire Shishkin. He wrote to friends: “To love the nature of a foreign people is to change your church.”
Only in Düsseldorf did the Russian landscape painter thaw his soul. Much more sketches were written in the Teutoburg Forest than during my entire stay abroad. The artist was especially good at drawings with a pen.

Sending his paintings to an academic exhibition in St. Petersburg in the fall of 1864, Shishkin wanted with all his heart to follow them. But the successful display of his works in Düsseldorf, Bonn, Aachen and Cologne delayed his departure, and the Academy of Arts allowed his early return only in the summer of 1865. He settled in Düsseldorf, where he painted the painting “View in the vicinity of Düsseldorf,” for which he received the title of academician.
In June 1865, I.I. Shishkin returned to Russia and lived in St. Petersburg. In 1867, the painting “View in the vicinity of Dusseldorf” was exhibited at the Paris World Exhibition, and a year later again at the academic exhibition in St. Petersburg. Shishkin outwardly finds himself in the sight of the academic authorities and is even awarded the Order of Stanislav, III degree.

"View around Düsseldorf"

"Noon. Neighborhoods of Moscow. Bratsevo"

He spent the summer of 1866 in Moscow and worked in Bratsevo together with L. L. Kamenev, his friend at the Moscow School of Painting and Sculpture. Collaboration with a landscape painter from the Moscow school, who is sincerely fascinated by the motifs of the flat Russian landscape, does not pass without a trace. Ivan Ivanovich always reflected the nature of his native land in his paintings, but as an original artist he began with the sketch “Noon. Neighborhoods of Moscow. Bratsevo" (1866). Living clouds, light wind, wet ground - everything is simple, natural and authentic.
In 1867, the artist again went to the legendary Valaam. Shishkin went to the island with seventeen-year-old Fyodor Vasilyev (1850-1873), whom he met a year ago, whom he took care of and taught painting. Then Shishkin began to paint the Russian forest and this epic began, essentially, with the painting “Cutting the Forest” (1867).

"Cutting Wood"

In the summer of 1868, with the family of F. Vasiliev, Shishkin went on vacation to the village of Konstantinovka near St. Petersburg. Soon he goes to his homeland, Elabuga, to receive his father’s blessing for his wedding with Evgenia Alexandrovna Vasilyeva, the artist’s sister. In October 1868 Ivan Ivanovich married Evgenia Alexandrovna, “dear Zhenya,” a simple and good woman. She created coziness and modest comfort in the house, which was always welcomed by numerous guests and friends.
The theme of the Russian forest after “Cutting the Forest” continued and did not dry out until the end of the artist’s life. In the summer of 1869, Shishkin worked on several paintings, preparing for an academic exhibition, and returned to the theme of the sketch “Noon. Neighborhoods of Moscow. Bratsevo" (1866).

"Noon. In the vicinity of Moscow"

"Pinery. Mast forest in Vyatka province"

"Stream in the Forest"

In 1870, at the competition of the Society for the Encouragement of Artists, he received first prize for the painting “A Stream in the Forest.” In 1971, he participated in the first exhibition of the Association of Traveling Art Exhibitions with the painting “Evening”. In 1872, for the painting "Pine Forest. Mast Forest in the Vyatka Province" he received first prize at the competition of the Society for the Encouragement of Artists. In 1873 he was awarded the title of professor for the painting "Wilderness".

"Backwoods"

No matter what the artist depicted on canvas - a forest, a river, a field, a lonely pine tree, for him nature was perfection itself, ennobling a person.
Presenting to the viewer the leisurely and majestic life of the Russian pine forest, the wilds of the forest, filled with the smells of resin and rotting leaves, the artist did not miss a single detail and flawlessly depicted everything: the age of the trees, their character, every needle and leaf, the soil on which they grow, and how roots are exposed on the edges of sandy cliffs, and how boulders lie in the clear waters of forest streams, and how spots of sunlight glitter in the crowns and on the grass.

“Forest stream (Black Forest)”

"Forest before the storm"

By nature, he was not only an excellent teacher, a reliable friend, but also a wonderful family man. For his children [daughter Lydia (1869), Vladimir (1871-73), Konstantin (1873-75)] Shishkin was the most tender and loving father. Away from them he was never calm and could hardly work.
But the artist’s family happiness was short-lived. Evgenia Alexandrovna was ill, the eldest son Vladimir died, and soon his beloved wife died (1874), and a year later death claimed the youngest, Konstantin. Shishkin quit working and started drinking. Failed artists quickly found their way to his house and helped drown his grief with wine. The friends could not do anything and hoped only for Ivan Ivanovich’s “strong nature.”

"Winter in the Forest (frost)"

The habit of work won out, his paintings found the following response in the magazine “Bee”: “If you are tired among this everyday, human environment, which you saw in the paintings that you passed by (at the exhibition), then you can refresh yourself with the impression of the forest landscapes of I.I. Shishkina".
And the artist, in order not to lose peace of mind again, began work on “Rye” (1878). On the back of the preparatory drawing, Ivan Ivanovich wrote: “Expansion, space, land, rye, grace, Russian wealth.” The viewer feels the same when looking at this painting.
Grief gradually released the artist. He worked hard, met with friends, and was liked by many women. “In appearance he is stern, but in reality he is kind-hearted, in appearance he is a volost foreman, in fact he is a very fine artist. His appearance was typically Great Russian, Vyatka. Tall, slender, handsome, strong man, with a keen eye, a thick beard and thick hair.”

"Rye"

This is how Olga Antonovna Lagoda, an aspiring artist who became a painter in 1880, saw him. faithful wife and friend of Ivan Ivanovich. She left the academy and began studying with Shishkin's students. He highly appreciated her talent and advised her to seriously take up landscapes of flowers and plants in 1881. He even published an album of her drawings himself). Their house was always full of guests. Daughter Ksenia was born.
But happiness turned away from the artist again. In 1881, Olga Antonovna died suddenly. Melancholy and resentment gripped Shishkin, but he endured it, did not drink, and turned to work and raising his daughters. The care of the girls and the house was shared with Ivan Ivanovich by the sister of his late wife, Victoria Antonovna. Not allowing himself to become limp, the artist created one picture after another. In 1882 participates in the All-Russian Industrial and Trade Exhibition in Moscow. In the summer he works from life in Siverskaya.

The success of the painting “Among the Flat Valley” exceeded all expectations. Accustomed to considering Shishkin as the “king of the forest”, “grandfather of the forests”, “landscape artist-forestor”, the audience saw a vast plain in front of them and felt a mood consonant with that evoked by A. F. Merzlyakov’s song, which had long been considered folk.
Just as unexpected was the painting “Before the Storm,” which conveys a child’s feeling of anxiety from the first rumbles of thunder and low clouds running like shadows across the ground. Shishkin's skill is generally recognized, his technique is so perfect that it arouses admiration among spectators and artists.

"Among the flat valley"

"Before the storm"

"Pines illuminated by the sun"

V.V. Vereshchagin, after looking at the sketch “Pines illuminated by the sun. Sestroretsk,” said: “Yes, this is painting! Looking at the canvas, I, for example, quite clearly feel the warmth, sunlight and, to the point of illusion, feel the aroma of pine.”
And I. N. Kramskoy called “Foggy Morning” “one of Shishkin’s most successful works.”
But he was a master not only in painting. Back in 1857, the artist became interested in lithography, seriously studied etching, and developed a new method of engraving in Russia - the so-called relief stroke, or “convex etching,” which allows reproductions to be printed simultaneously with text. The third album of his etchings (188b) was called “poems in drawings.” And the drawings themselves, presented at the exhibition of the Academy of Arts, were surprising, because no one had ever shown such a richness of black in Russian painting.

"Foggy Morning"

“Work every day, go to this job as if it were a service. There is no point in waiting for the notorious inspiration... Inspiration is the work itself,” Ivan Ivanovich told his students when he directed the landscape workshop of the Higher Art School at the Academy of Arts.
But more and more often the creator of “Morning in a Pine Forest”, “Golden Autumn”, “In the Wild North...”, the illustrator of D. N. Kitaygorodov’s book “Conversations about the Russian Forest” were accused of turning him into an artist - photographer

"Morning in a pine forest"

"Gold autumn"

Despite the success of his personal exhibition, where only rough sketches (300 pieces) and more than 200 drawings were collected, friends persistently advised Shishkin to pay attention to expressive means when conveying the light-air environment. The artist was accused of what he accused Aivazovsky of in his youth - of replicating one theme, handicraft and lack of spirituality.
In January 1893, after visiting, at the request of Tsar Alexander III, the Belovezhskaya forests, Shishkin exhibited 58 sketches (of which 17 were “huge”), completed over the summer and autumn. Spectators and critics saw that Shishkin “hasn’t worn himself out, hasn’t run out of steam, and he’s a true virtuoso in coloring.” The artist was upset by the attacks. It was as if he felt that he did not have long to live. He worked with some kind of greed and passion.

"By autumn"

"Bark on a dry trunk"

"Ship Grove"

Answering questions from the Petersburg Newspaper in 1893, Shishkin admitted:
“ - My ideal of happiness? Soulful world. - The greatest misfortune? Loneliness. - How would I like to die? Painless and calm. Instantly." Having begun the painting “Red Forest,” which depicted “a whole sea of pine forest - a forest kingdom,” the artist dropped the coal and the drawing and fell dead. Over Shishkin’s grave, his student M. Ivanov excitedly said that he “was a pure and great artist, a truly Russian man... He will continue to live as long as we live, for he is in our memory.”

Monument to I. I. Shishkin in Elabuga

Ivan Ivanovich Shishkin was born in 1832 in the city of Elabuga, which is located in our republic, just one hundred and sixty kilometers from Kazan. He is one of the most famous Russian landscape painters. Shishkin knew Russian nature well and loved it very much. Oak Grove Oil. He was called the “forest hero-artist”, “king of the forest”, “old man-forester”, he could be compared to an old strong pine tree overgrown with moss”, but rather, he is like a lonely oak tree from his famous painting, despite many admirers, students and imitators.

Rye.1878.Butter. Shishkin was born into the family of a poor merchant. The father, a man of broad interests, is the only one close to him who supported his son’s desire to become an artist. From 1852 to 1856, Shishkin studied at the Moscow Art School. From 1856 to 1860 he continued his studies at the St. Petersburg Academy of Arts. Its development proceeded rapidly. For his successes, Shishkin consistently receives all possible awards. Having received a large gold medal in 1860 for two paintings of the same title, “View on the Island of Valaam,” Shishkin spent three years abroad.

Sunlit Pines Oil He works mainly in Germany and Switzerland. Visits the Czech Republic, France, Belgium and Holland. After returning to St. Petersburg, the artist with pleasure writes “Russian expanse with golden rye, rivers, groves and Russian distance”, which he dreamed of in Europe. One of his first masterpieces can be called a song of joy - “noon. In the vicinity of Moscow" (1869). He continues to prefer clarity, midday, bright sunlight, summer, fullness of life - “Pine Forest. Mast forest in the Vyatka province."

Winter Oil Shishkin also has a forest thicket, which evokes some awe in the viewer, as if he were actually alone in the wilderness in winter.

Overgrown garden. Snitch-grass. Sketch Oil Shishkin was often reproached for being too detailed in his paintings. Many artists considered his paintings to be non-picturesque and called his paintings painted drawings. Nevertheless, his paintings always provide a holistic image. And this is the image of the world that Shishkin cannot “lubricate” with the arbitrary movements of his soul. Even the smallest thing in the world contains a particle of the big, therefore its individual appearance is no less important than the image of an entire forest or field. That is why small things are never lost in his paintings. It comes to the fore, as if under our feet, with every blade of grass, flower, butterfly.

Ship Grove Oil. For some period he taught at the Academy of Arts. In the learning process, as in his work, he used photography to better study natural forms. The artist’s last work is “Ship Grove.” Soon Shishkin died while working on a new painting.

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Shishkin (Ivan Ivanovich) - one of the most gifted Russian landscape painters, painter, draftsman and engraver-aquafortist, son of a merchant, born on January 13 (25 according to the new style) in Elabuga (Vyatka province) in 1832,

At the age of twelve, he was assigned to the 1st Kazan gymnasium, but, having reached the 5th grade, he left it and entered the Moscow School of Painting, Sculpture and Architecture.

Having completed the course at this institution, from 1857 he continued his education at the Academy of Arts, where he was listed as a student of Prof. S. M. Vorobyova.

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In 1858 he received a large silver medal for a view of Valaam, in 1859 a small gold medal for a landscape from the outskirts of St. Petersburg. and, finally, in 1860 - a large gold medal for two types of terrain in Cucco, on Valaam.

Having acquired, along with this last award, the right to travel abroad as a pensioner of the academy, he went to Munich in 1861, visited the workshops of famous artists there

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Abroad, in addition to painting, he did a lot of pen drawings; his works of this kind surprised foreigners, and some were placed in the Düsseldorf museum next to the drawings of first-class European masters.

Feeling homesick for his homeland, Shishkin returned to St. Petersburg in 1866.

Since then, he often undertook artistic trips around Russia, exhibited his works almost every year, first at the academy, and then, after a partnership of traveling exhibitions was established, he produced pen drawings at these exhibitions.

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Among Russian landscape painters, Shishkin undoubtedly belongs to the place of the most powerful draftsman.

In all his works, he is an amazing connoisseur of plant forms, reproducing them with a subtle understanding of both the general character and the smallest distinctive features of every species of trees, bushes and herbs.

Whether he took on the image of a pine or spruce forest, individual pines and spruces, just like their totality, received from him their true physiognomy, without any embellishment or subtraction - that appearance and with those particulars that are fully explained and determined the soil and climate where the artist made them grow.

Whether he depicted oaks or birches, they took on completely truthful forms in his foliage, branches, trunks, roots and in all details.

The very terrain under the trees - stones, sand or clay, uneven soil overgrown with ferns and other forest herbs, dry leaves, brushwood, dead wood, etc. - received the appearance of perfect reality in Shishkin’s paintings and drawings

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All these works each year increased his reputation as one of the best Russian landscape painters and an incomparable, in his way, aquafortist. In 1873, the Academy elevated him to the rank of professor for the masterful painting “Wilderness” that it acquired.

This presentation contains paintings by the famous artist I.I. Shishkin. Each picture has an explanation either in prose or in poetry. You can use the presentation in lessons of literary reading, fine arts, and the surrounding world.

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Ivan Ivanovich Shishkin (1832-1898) “Shishkin is a folk artist. All his life he studied Russian, mainly northern forests, Russian trees, Russian thickets, Russian wilderness. This is his kingdom and here he has no rivals, he is the only one.” V.V. Stasov In the treasury of Russian art, Ivan Ivanovich Shishkin belongs to one of the most honorable places. No one before Shishkin, with such stunning openness and such disarming intimacy, told the viewer about his love for his native land, for the discreet charm of northern nature.

“Sosnovy Bor” (1872) “Sosnovy Bor” is a “portrait” of a thoroughly studied Kama forest, where the artist himself grew up. The painting depicts Ural nature. On the canvas, young, but already strong and slender pines stretch upward, a shallow forest stream quietly gurgles at their feet. In this picture, Shishkin achieved great organicity of all objects in the picture.

“In the Wilderness of the Forest” (1872) At the Second Exhibition of the Itinerants, Shishkin presented the painting “In the Wilderness of the Forest,” for which in 1873 he received the title of professor. By spatially building the composition from the shaded foreground to the depths, where a faint ray of sunlight is visible among the stunted trees, he makes it possible to feel the dampness of the air, the humidity of mosses and dead wood, to be imbued with this atmosphere, as if leaving the viewer alone with the oppressive wilderness.

Whether he depicted oaks or birches, they took on completely truthful forms in his foliage, branches, trunks, roots and in all details. The very area under the trees - stones, sand or clay, uneven soil overgrown with ferns and other forest herbs, dry leaves, brushwood, dead wood, etc. - received in Shishkin's paintings and drawings the appearance of perfect reality, as close as possible to reality. "Forest Landscape" (1874)

“Rye” 1878 On March 9, 1878, the doors of the Society for the Encouragement of the Arts opened. The sixth exhibition of the Itinerants was located here at that time. Among the outstanding paintings are I. E. Repin, N. A. Yaroshenko, K. A. Savitsky, A. I. Kuindzhi. Shishkin's landscape "Rye" stood out. This work is involuntarily associated with the poems of A.V. Koltsov and N.A. Nekrasov - two poets whom Shishkin especially loved. All the rye around is like a living steppe, No castles, no seas, no mountains. Thank you, dear side, for your healing space. ON THE. Nekrasov "Silence".

“A Stream in the Forest” (1880) A lovely corner of our native land. The pine forest rustles mysteriously. A stream flows between the trees, Conversing with the grass and mosses. In the forest the summer heat is weakening - Here is the kingdom of twilight and shadows. Here you can smell the resin. The stream, babbling, flows among the stones. When a boulder blocks his path, trying to hold back the stream, the stream will be able to go around it and continues to run merrily. How good! And sadness disappears, Passes without any trace. I’ll bend over to the stream and drink from it. How sweet is the yellowish water! There is a shadow here, and then a bright light is visible - In the background, everything is illuminated... There is no miles more than our native land in the world! The painting tells us this! Ivan Yesaulkov.

“Oaks.” (1887) The forest landscapes of Shishkin, who most of all loved to depict mighty century-old oaks, emanate epic grandeur. Despite Shishkin's successes in landscape painting, close friends persistently advised him to pay attention to expressive means, in particular, to the transfer of a light-air environment. That’s why what attracts Shishkin’s paintings is not so much the linear composition as the harmony of light and shade and color.

“Windfall” (1888) My viewer, remember the past, When in your adolescence, in the hour of unity with nature, You wandered into the same windbreak. Listening to the silence, Only the hunter made his way here, Yes, sometimes the connecting rod wandered Before spring, forgetting about sleep. Slender rows of trees go majestically into the darkness, like knights in search of glory, in reflection of misfortune. The impenetrable corners of the Taiga, where spruce trees were everywhere, And where long-fallen trunks had rotted and become moss-covered. Moss lies like a carpet on each one, And nearby, in groups and separately, Adorable young shoots run merrily with mushrooms. She hurries to where the sun shines through the rare gaps between the trunks and the water is reflected. Shishkin depicts our native nature again in a dark and harsh picture. And how tirelessly the brush paints wild places, the impassability of the windfall. How familiar to the Russian heart is the beauty of such wilds! I. Yesaulkov

“Morning in a Pine Forest” (1889) Among all the artist’s works, the painting “Morning in a Pine Forest” is the most widely known. The idea was suggested to Shishkin by a trip to the Vologda forests. The entertaining genre motif introduced into the picture greatly contributed to its popularity, but the true value of the work was the beautifully expressed state of nature. This is not just a dense pine forest, but a morning in the forest with its fog that has not yet dissipated, with the lightly pinked tops of huge pines, and cold shadows in the thickets. You can feel the depth of the ravine, the wilderness. The presence of a bear family located on the edge of this ravine gives the viewer a feeling of remoteness and deafness of the wild forest.

“In the Wild North...” (1891) This poem by Mikhail Yuryevich Lermontov was chosen by Ivan Ivanovich Shishkin to illustrate a collection of works that was being prepared for publication and coincided with the 50th anniversary of the poet’s death. Just like in Lermontov’s poem, the theme of loneliness sounds powerfully in the film. On an inaccessible bare rock, in the midst of pitch darkness, ice and snow, stands a lone pine tree. The moon illuminates the gloomy gorge and the endless distance covered with snow. It seems that in this kingdom of cold there is nothing living anymore. But despite the frost, snow and winds, the tree lives.

“Ship Grove” (1898) This landscape is based on full-scale sketches made by Shishkin in his native Kama forests. In the center, powerful trunks of centuries-old pine trees illuminated by the sun are highlighted. Thick crowns cast a shadow on them. By cutting off the tops of the trees with a frame, the artist enhances the impression of the enormity of the trees, which seem to not have enough space on the canvas. As always, he slowly talks about the life of this forest on a fine summer day. Emerald grass and grayish green milkweed descend to a shallow stream running over rocks and sand. A fence thrown across it indicates the close presence of a person. Two yellow butterflies fluttering over the water, greenish reflections in it, a slightly bluish sky, sliding lilac shadows on the trunks bring a tremulous joy of being, without disturbing the impression of peace diffused in nature. The clearing on the right with sun-brown grass, dry soil and richly colored young growth is beautifully painted.

Literature: 1. Shishkin I.I. M.: Publishing House of the USSR Academy of Arts, 1964-150 pp.: ill. There are 39 paintings in total. 3.I. Esaulkov http://www.stihi.ru 2. http://ru.wikipedia.org

Artist Shishkin

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An outstanding Russian landscape painter of the nineteenth century. Shishkin Ivan Ivanovich (1832-98), Russian painter and graphic artist. In epic images he revealed the beauty, power and richness of Russian nature (mostly forest). Master of lithography and etching. Russian artist. An outstanding master of landscape, he organically combined the features of romanticism and realism in his painting and graphics. Shishkin was born into a merchant family. The artist’s father was not only an entrepreneur, but also an engineer, archaeologist and local historian. After graduating from the Moscow School of Painting, Sculpture and Architecture, Shishkin studied at the St. Petersburg Academy of Arts. - Shishkin.ppt

Shishkin's paintings

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Ivan Ivanovich Shishkin is an outstanding landscape painter who glorified the beauty of the Russian forest. Contemporaries called him “king of the forest.” The painting “Ship Grove” is the artist’s last work (1898). His death occurred suddenly, while working on a new painting. "Pinery". "Rain in an oak forest." "Morning in a pine forest". Working with reproduction. Edge of a pine forest. Majestic slender pine trees. Transparent stream. Tender summer sun. The artist's admiration for the beauty of nature. Selection of working materials. Writing an essay. Reflection. - Ivan Shishkin.ppt

Artist Shishkin

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Shishkin Ivan Ivanovich. Biography. Teachers. The artist received a large silver medal. Progress achieved. Academician title. Pine trees illuminated by the sun. Morning in a pine forest. Ship Grove. Shishkin worked actively in the open air. Died. - Artist Shishkin.pptx

Landscape artist Shishkin

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Ivan Ivanovich Shishkin. 1832 - 1898. Feeling homesick for his fatherland, Shishkin returned to St. Petersburg in 1866. Among Russian landscape painters, Shishkin undoubtedly belongs to the place of the most powerful draftsman. The very terrain under the trees - stones, sand or clay, uneven soil overgrown with ferns and other forest herbs, dry leaves, brushwood, dead wood, etc. - received the appearance of perfect reality in Shishkin's paintings and drawings. - Landscape artist Shishkin.ppt

Ivan Ivanovich Shishkin

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Shishkin Ivan Ivanovich. Biography. The place of the most powerful artist. Realism often harmed his landscapes. Pinery. Mast forest in Vyatka province. "Morning in a pine forest." Wood cutting. Rye. "Ferns in the forest. "Stream in a birch forest." "Oak grove." "Teutoburg forest." "Swiss landscape." "Forest before a thunderstorm." "Old linden trees." - Ivan Ivanovich Shishkin.ppt

Biography of Shishkin

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Ivan Ivanovich Shishkin. An outstanding painter. Painting lessons. Artist. Summer and autumn. Pinery. Boundless expanse. Plein air. The enormity of the common. View in the vicinity of St. Petersburg. Teutoburg Forest. Noon. Backwoods. Oak trees. Morning in a pine forest. Rye. Ship Grove. Forest distances. - Biography of Shishkin.ppt

Shishkin's creativity

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Ivan Ivanovich Shishkin. While studying at the Academy of Arts, Shishkin quickly stood out among the students. In the vicinity of St. Petersburg. Oak trees. Shishkin was attracted by a thirst for artistic exploration of nature. A herd in the forest 1864. I. I. Shishkin in Dusseldorf. View in the vicinity of Dusseldorf. The epic of the Russian forest. Wood cutting. Forest in the evening. Walk in the forest. Midday in the vicinity of Moscow. Forest landscape with herons. Backwoods. Winter in the forest. In 1865, Shishkin settled in St. Petersburg. Rye. Apiary. Ferns in the forest. An overgrown pond at the edge of the forest. Forest distances. Oak Grove. Morning in a pine forest. Landscape including a genre scene with frolicking bears. - Shishkin's creativity.ppt

Shishkin's paintings

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Shishkin Ivan Ivanovich. Short biography. Early creativity. Maturity. With special desire, the artist paints the most powerful and strong breeds. Artist's gallery. Morning in a pine forest. Forest Cemetery. “It’s lonely in the wild north...” based on the poem by M.Yu. Lermontv. Ship Grove. Rye. Oak trees. Oak trees. Winter. Forest in the evening. Forest distances. Oaks in old Peterhof. Pinery. Oak Grove. - Shishkin's paintings.ppt

Landscapes of Shishkin

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What is landscape? Cityscape. Fedor Alekseev “Cathedral Square in the Moscow Kremlin.” Rural landscape. I. Levitan “Vladimirka”. Seascape. I. Aivazovsky “Moon Rising”. How did the work of I.I. begin? Shishkina. In the painting “Ship Grove,” pine trees are depicted very naturally and vividly. What does I. I. Shishkin like to depict? Painting "Forest distances". In the work “Drowning is grass. Landscape “Noon. In the vicinity of Moscow” As if filled with air. Exercise. Rural Architectural Industrial. Well done!!! The answer is correct! Rural Urban Industrial. Questions. Where was I. I. Shishkin born? - Landscapes of Shishkin.ppt

Shishkin forest

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The topic of the educational project is THE SORCERER OF THE FOREST. I.I. Shishkin - a sorcerer or singer of the Russian forest? What is the main theme of the artist I.I. Shishkin’s work? Human and nature. Why does the Russian artist I.I. Shishkin glorify the beauty of the forest? What paintings of the great master do you know? Academic subjects. Story. Literature. Iso. Didactic goals: To arouse interest in the life and work of I.I. Shishkin. Improve interdisciplinary connections (art, history, literature). Develop students' monologue speech. Methodological tasks. Develop the ability to work with large amounts of information. To interest students in a deeper study of literature. -