Project "Vasnetsov's illustrations for fairy tales." Vasnetsov's paintings on fairy-tale subjects

“Deep Legends of Antiquity” came to life thanks to the brush of Viktor Vasnetsov. Bogatyrs and princesses went beyond book lines and illustrations. The artist grew up in the wilderness of the Ural forests, listening to Russian fairy tales that sounded accompanied by the crackle of a splinter. And already being in St. Petersburg, I did not forget the childhood memories and transferred those magical stories on canvas. We look at fairy-tale paintings with Natalia Letnikova.

Alyonushka

Barefoot bare-haired girl on the bank of a forest river. With inexpressible sadness he looks into the deep pool. The sad picture is inspired by the fairy tale about sister Alyonushka and brother Ivanushka, and he drew the orphan from a peasant girl from the Okhtyrka estate, adding, as he himself admitted, the features of Verusha Mamontova, the daughter of a famous Moscow philanthropist. Nature echoes the girl’s sadness, intertwining with the poetry of folk tales.

Ivan Tsarevich on the Gray Wolf

Gloomy dark forest. And a gray wolf, quite expected for such a thicket. Only instead of an evil grin, the predator has human eyes, and on it there are two riders. Wary Ivanushka carefully holds Elena the Beautiful, submissive to fate. We recognize not only the plot of the Russian fairy tale, but also the image of the girl. The artist endowed the fairy-tale heroine with real features - Savva Mamontov’s niece, Natalya.

V.M. Vasnetsov. Alyonushka. 1881

V.M. Vasnetsov. Ivan Tsarevich on a gray wolf. 1889

Bogatyrs

Victor Vasnetsov. Bogatyrs. 1898

One of the most famous paintings Vasnetsov devoted 20 years of his life to Russian painting. “Bogatyrs” also became the artist’s largest painting. The size of the canvas is almost 3 by 4.5 meters. Bogatyrs are a collective image. Ilya, for example, is the peasant Ivan Petrov, and the blacksmith from Abramtsevo, and the cab driver from the Crimean Bridge. The picture is based on the author’s childhood feelings. “And so it appeared before my eyes: hills, space, heroes. A wondrous childhood dream."

Song of Joy and Sorrow

Victor Vasnetsov. Sirin and alkonost. A song of joy and sorrow. 1896

Alkonost and Sirin. Two half-birds with illusory promises of a cloudless paradise in the future and with regrets about the lost paradise. Vasnetsov embellished asexual birds, giving the mythical creatures beautiful female faces and rich crowns. The singing of the Sirin is so sad that the leaves of the century-old tree have turned black; the delight of the alconist can make you forget about everything... if you linger with your gaze on the picture.

Carpet plane

Victor Vasnetsov. Carpet plane. 1880

Painting for Management railway. Not a train or even a postal service. Carpet plane. This is how Viktor Vasnetsov responded to Savva Mamontov’s request to paint a picture for the industrialist’s new project. The fabulous flying machine - a symbol of victory over space - puzzled the board members and inspired the artist himself. Mamontov purchased the painting, and Vasnetsov discovered new world. In which there is no place for routine.

Three princesses of the underworld

Victor Vasnetsov. Three princesses of the underworld. 1884

Gold, copper and coal. Three riches that are hidden in the depths of the earth. Three fairy-tale princesses are the embodiment of earthly blessings. Proud and arrogant golden, curious copper and timid coal. Princesses are mistresses of mountain mines, accustomed to commanding people. There are two paintings with such a plot at once. On one of them, in the corner, there are figures of two men as supplicants, obsequiously looking into their beautiful, cold faces.

Koschei the Deathless

Victor Vasnetsov. Koschei the Deathless. 1917–1926

Rich mansions with chocolate, red and gold hues. The luxury of brocade and rare types of wood is a worthy frame for heavy treasure chests, and the main treasure that Koschey is not given into his hands is a young beauty. The girl is interested in the sword, which, however, cannot defeat Koshchei. Viktor Vasnetsov spent nine years writing the image of the main fairy-tale villain. Chronologically, the painting was the last for the artist.

How to instill a child's interest in art? People look at paintings, listen to music, read fiction and poetry, they admire architecture, dance, theater, cinema... You can listen to music and not understand, you can look at paintings and not feel anything... The perception of art begins in early childhood.

Early acquaintance with the world of beauty develops taste, develops visual memory, imagination, observation, teaches one to think, generalize, analyze, and find beauty in everyday things.

From early preschool age Children should get acquainted with one of the types of fine arts - painting. Painting is perceived easily if the family understands, loves and feels works of art. Parents interested in aesthetic development children can organize small joyful meetings with art.

Fairy tales accompany children almost from the cradle, and imagine the images of many fairy-tale heroes they will be helped by the paintings of Viktor Mikhailovich Vasnetsov.

Viktor Mikhailovich Vasnetsov is a storyteller artist who created fairy tale paintings, epic paintings: “Alyonushka”, “Bogatyrs”, “Ivan Tsarevich on Gray Wolf»…

The artist called himself a “storyteller,” epic writer, guslar.” The word “epic” comes from the word “byl”, fairy tale - from the word “tell”, guslar from the word “harp” (ancient musical instrument). The artist’s homeland is the Vyatka region, the village of Lopyal. Nature itself, mysterious and harsh, inspired him with images of heroes of ancient epics, beliefs, and legends.

Painting "Alyonushka"

The plot of the painting “Alyonushka” is taken from a Russian folk song: “Like an aspen - it’s bitter - it’s me who is poor - bitter.” A barefoot peasant girl ran to a forest pool to drown her grievances and sorrows in it. Alyonushka sits motionless on a pebble, with his head on his knees. The evil fate dried up her soul. The drooping, fragile figure seemed to be petrified, frozen with hopeless grief. Beautiful eyes went out from melancholy and loneliness.

Nature alone hears and understands Alyonushka. The gloomy sky is covered with gray clouds, sad aspen trees are shedding tears-leaves from bitter resentment. A light breeze gently strokes your hair. The dense forest forms a wall, protecting the poor thing from a terrible fate. All elements of the landscape have symbolic meaning: a dark pool symbolizes a girl’s melancholy and sadness, and the cutting sedge around the stone portends imminent misfortune.

The painting “Alyonushka” shows the emotional connection between man and nature, their mutual understanding.

This is interesting:

The heroine of the film reminds many of the character in the Russian fairy tale “Sister Alyonushka and Brother Ivanushka.” However, in this tale the plot was completely different: the unfortunate little goat Ivanushka ran to the pond to complain about his fate to his sister:

“Alyonushka, my sister.
The fires are burning flammable,
The cauldrons are bubbling,
Damask knives are sharpened,
They want to kill me."

And she answered him:
“Oh, my brother Ivanushka.
The heavy stone pulls to the bottom,
Silk grass has tangled my legs,
The fierce snake sucked out my heart.”

Read the fairy tale “Sister Alyonushka and Brother Ivanushka”, discuss its plot. Find the plot differences in the fairy tale and the picture.

Listen to a folk song with your child that will help you understand the mood of the picture.

“Is it the wind that bends the branch,
It is not the oak tree that is making noise.
That's mine, my heart is groaning,
How an autumn leaf trembles."

Ask your child whether he likes this picture, what feelings it evokes, what he thinks about Alyonushka.

• Why did she run into the forest?
• Who sympathizes with her? (spectators, nature)
• How does the artist feel about her?
• According to the fairy tale, an evil witch pushed Alyonushka into the water, and who in Vasnetsov’s painting wishes her well? (aspen, swallows).

After discussing the picture and the fairy tale, do not forget to make a joint conclusion about what should connect man and nature.

Painting “Three princesses of the underworld”

The painting was created based on the Russian folk tale about how the peasant son Ivan found three kingdoms underground - gold, precious stones and iron. The painting was painted by order of the merchant S.I. Mamontov to decorate the office of the Severodonetsk railway.

The plot of the fairy tale in the film is different: the iron kingdom is replaced by a coal kingdom. Two princesses appear against the backdrop of a flaming sunset. The first guards the most expensive metal - gold. The proud and arrogant princess is dressed in gold-woven clothing. Her headdress is cast from pure gold. She holds in her hands a handkerchief decorated with gold threads.

The second one looks down on her little sister. Her clothes are strewn with blue sapphires, red rubies, purple amethysts, and dazzling diamonds. Emeralds twinkle on the head.

The youngest princess stands modestly in the shadows, right at the descent into the dungeons. The black dress and hair are decorated with pearls and diamonds, and a small light shines on her head. The princess guards the most needed treasure - coal.

• Read the fairy tale “The Three Princesses of the Underground Kingdom.”
• Now try to solve the riddle: what underground treasures are guarded by the three princesses?
• How did the artist Vasnetsov change the plot of the fairy tale?
• What does the youngest princess protect?
• What is shown in the foreground of the picture? (Black lumps of coal)
• How does the artist feel about the younger princess?
• What is more important in life: gold, precious stones or coal? (jewelry is made from gold and precious stones, and coal gives people heat and light)

Painting “Ivan Tsarevich and the Gray Wolf”

The painting depicts an episode from the fairy tale by A. A. Afanasyev: “Ivan Tsarevich, sitting on the Gray Wolf with the Beautiful Elena, loved her with all his heart...” From this feeling, a branch of an apple tree blossomed in the cold forest with white and pink flowers. A blooming apple tree symbolizes spring, as the awakening of nature from sleep and love, as the birth of the most beautiful feeling of man. In the fairytale forest, Elena the Beautiful is cold. She bowed her head to her savior, who hugs her tightly. He is ready to fight for his love.

The prince kidnapped an overseas princess from distant countries, from the king of Dalmatia, so she wears an oriental outfit: a skullcap studded with precious stones, a brocade robe, and golden shoes with curved toes. The beauty seems to be under a spell, as if half asleep. The young are fleeing from pursuit. A huge wolf rushes through the dark forest. The individual details of the picture are surprising, indicating the swiftness of the action: pressed wolf ears, a blossoming tail, a protruding tongue, fluttering princesses, a flying heavy sword in the sheath of Ivan Tsarevich...

• Read and discuss the fairy tale by A. A. Afanasyev “Ivan Tsarevich and the Gray Wolf.”
• Ask your child what is shown in this picture?
• Why does this picture seem alive? (a huge wolf rushes at speed...)
• Who is sitting on the Gray Wolf?
• Why does Ivan Tsarevich hug the princess? What is her name?
• Are there any clues in the painting that Helen the Beautiful was an overseas princess?
• What miracle happened in the dark forest? (the apple tree blossomed).
• Why did the apple tree bloom?
• What is love? Why is this feeling compared to the delicate flowers of an apple tree blooming? (for love nothing is impossible...)
• Who in this picture can interfere and help the heroes?
• Did you like this picture? What does she teach?

Painting "Bogatyrs"

The painting depicts a heroic outpost. The three main characters Ilya Muromets, Alyosha Popovich and Dobrynya Nikitich stand guard over the Russian land. Behind them are endless forests and fields. Clouds float across the sky, which are not afraid of evil clouds. The clouds seem to part before the heroic power.

In the center is the eldest of the heroes - Ilya Muromets. He was a peasant's son and devoted his whole life to serving the people. Many epics tell about Ilya Muromets and his exploits:

• "Ilya Muromets and the Nightingale the Robber"
• "Ilya Muromets and Kalin the Tsar"
• "Ilya Muromets and the Poganoe Idol",
• “The quarrel between Ilya Muromets and Prince Vladimir”...

The hero was endowed with unprecedented physical strength and wielded weapons for “close combat” - a heavy club and a round shield. Below him is a mighty black horse, the color of which matches the “mother earth” from which the hero drew his heroic strength. It seems that the ground has cracked under the weight of the horse and its rider.

On the left, Ilya’s right hand is Dobrynya Nikitich, distinguished by wisdom and foresight. His bright and fast horse Beleyushka has already sensed the enemy, and Dobrynya takes out her magic sword from its sheath.

The exploits of Dobrynya are told in several epics: “Dobrynya and the Serpent”, “Dobrynya Nikitich and Alyosha Popovich”... Dobrynya is a warrior, a defender of the Russian land, with a subtle mind and the ability to deal with people. He plays excellent chess, is a good guslar player, and shoots a bow better than anyone else.

The third hero is the “young daring” Alyosha Popovich. The epic “Alyosha Popovich and Tugarin Zmeevich” tells about his struggle with the enemies of Rus'. He is brave, cunning, decisive, cunning, but also boastful and sometimes unreasonable. Alyosha loves the land selflessly and is ready to lay down his head in battle for it. His weapon is intended for “long-range combat” - a bow and arrows, so his red horse is calmly nibbling the grass. Behind the hero’s shoulders is not only a quiver of arrows, but also “samoguda harps.”

Small defenseless fir trees grow in front of the strong heroic horses. The artist Vasnetsov tells us that Christmas trees will grow mighty and strong if a person protects them. All our abundant land can give us water from its springs, feed us with the bread of its fields, shelter us in the shade of cool forests, but it cannot do one thing - protect itself.

The artist’s mystery is hidden in the painting “Bogatyrs”. In the guise of Dobrynya Nikitich, the most noble knight, Vasnetsov conveyed his portrait features. The artist mentally tried on the heroic armor and took on the heroic appearance.

Read the epic “Ilya Muromets and the Nightingale the Robber” so that your son (daughter) can understand what the epic is.

Explain the differences between epics and fairy tales.

Ask your child the following questions:

• Why Ilya Muromets became the favorite hero of the Russian people.
• Who did the Russian heroes protect? (weak old people, children, women, native land...)
• What were our defenders like?
• What was the name of the oldest hero?
• It is known that, according to the instructions of the wandering sages, Ilya saw his future horse in the foal. What external signs helped the hero choose a horse to match himself? (White spot on the horse's nose and hind leg).
• Which of the heroes was of princely origin? What sets him apart from other defenders? Who is Dobrynya Nikitich like?
• Which of the heroes is the youngest? What elements of the picture indicate that Alyosha Popovich was a master at fighting and telling fairy tales? (quiver with arrows and samogud harp).
• Which hero did you like best and why?

It’s best to end the conversation with a small epic story about the source of heroic strength. “Once upon a time, wanderers told Ilya Muromets, “who sat for thirty years and three years,” how to gain powerful strength. They brought him a ladle of spring water, saying the following words: “Drink the rest. The remainder of this is the water of all the deep rivers and lakes, the dew from all the grain fields, all the green meadows of Rus'. Drink and you will feel heroic strength.”

Where did our ancestors get their heroic strength? The source of heroic strength was and remains the native land.

Paintings by V. M. Vasnetsov were included in the golden fund of the Tretyakov Gallery. They can be viewed and read. Everyone who repeatedly visited the gallery and saw Vasnetsov’s paintings with their own eyes always found in them something that they had not noticed before. I wish everyone interesting walks into the world of beauty.

In my opinion, there is no better illustrator of fairy tales than V. M. Vasnetsov, well, perhaps I. Bilibin. The next page is about him.

Viktor Mikhailovich Vasnetsov (1848-1926) - one of the first Russian artists who pushed the boundaries of conventional genres and showed fairy world, illuminated by the poetic fantasy of the people. Vasnetsov was one of the first Russian artists to turn to recreating images of folk tales and epics in painting. His fate developed as if he was destined in advance to be the singer of a Russian fairy tale. He spent his childhood in the harsh, picturesque Vyatka region. The talkative cook, who tells children fairy tales and stories of wandering people who have seen a lot in their lifetime, according to the artist himself, “made me fall in love with the past and present of my people for the rest of my life, and largely determined my path.” Already at the beginning of his work, he created a number of illustrations for “The Little Humpbacked Horse” and “The Firebird”. In addition to fairy tales, he has works dedicated to the heroic images of epics. "The Knight at the Crossroads", "Three Heroes". The famous painting “Ivan Tsarevich on the Gray Wolf” was written based on the plot of one of the most famous and widespread fairy tales, reproduced in popular prints of the 18th century.

"Princess Nesmeyana"

In the royal chambers, in the princely palaces, in the high tower, Princess Nesmeyana adorned herself. What a life she had, what freedom, what luxury! There is a lot of everything, everything the soul wants; but she never smiled, never laughed, as if her heart was not happy about anything.

There are merchants, boyars, foreign guests, storytellers, musicians, dancers, jesters and buffoons. They sing, clown around, laugh, strum the harp to their heart's content. And at the foot of the high tower there are ordinary people, also crowding, laughing, shouting. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart was not happy about anything.” And, to be honest, what is there to be happy about if no one ever has a heart-to-heart talk with her, no one with a pure heart will approach her?! Everyone around is just making noise, aiming for suitors, trying to present themselves in the best light, but no one cares about the princess herself. That is why she is not laughing, until the one and only one, the long-awaited one, comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, for sure, because that’s what the fairy tale says.

"Koschei the Immortal and the Beloved Beauty"

As soon as he managed to leave the yard, Koschey entered the yard: “Ah! - speaks. - It smells like Russian braid; I know you had Ivan Tsarevich.” - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in dense forests, in sticky mud, and is still eaten by animals!” They began to have dinner; at dinner, the Beloved Beauty asks: “Tell me, Koschey the Immortal: where is your death?” - “What do you need, stupid woman? My death is tied up in a broom.”

Early in the morning Koschey leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. As soon as the prince had time to leave, Koschey entered the courtyard: “Ah! - speaks. - It smells like Russian braid; I know you had Ivan Tsarevich.” - “What are you, Koschey the Immortal! You flew around Rus' yourself, picked up the Russian spirit - you smell of the Russian spirit. Where can I see Ivan Tsarevich? He remained in dense forests, in sticky mud, and is still eaten by animals!” It's time for dinner; Beloved Beauty herself sat down on a chair, and sat him on a bench; he looked under the threshold - there was a gilded broom. "What's this?" - “Ah, Koschey the Immortal! You see for yourself how much I honor you; If you are dear to me, so is your death.” - “Stupid woman! I was joking, my death is sealed up in the oak meadow over there.”

"Princess Frog"

Look at the reproduction of V. Vasnetsov’s painting “Feast” (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the fairy tale by I. Bilibin.
Bilibin’s illustrations framed by floral patterns very accurately reflect the content of the fairy tale. We can see the details of the heroes’ costumes, the expressions on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not dwell on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who seem to be stamping their feet to the beat of a dance song. We can guess that the music to which Vasilisa dances is cheerful and mischievous. When you look at this picture you feel the character of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities do the people glorify in the image of Vasilisa?

Painting by V. Vasnetsov creates generalized image beautiful princess: next to her are the guslars and the people. The illustration by I. Bilibin specifically depicts an episode of the feast: in the center is Vasilisa the Wise, at the wave of whose hand miracles occur; There are people around, amazed by what is happening. Possible here different types works:

1. Describe verbally what you see in each of the paintings (characters, setting, appearance surrounding people, their mood, prevailing colors).

2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this what you imagine main character fairy tales?

"Carpet plane"

The imagination of the people created a fairy tale about a flying carpet. You see two paintings by Vasnetsov with this name - early and late. In the first of them, a proud young man looks from a flying carpet at the expanses of Russian land spreading below. The discreet northern nature served as the artist’s backdrop for the painting. Rivers and lakes sparkle, the forest stands like a dark wall, and huge birds accompany the carpet. The Firebird caught by the hero burns with a bright fire in a cage. This painting tells about the wisdom, strength, and dexterity of the people. The second picture is lighter and more colorful. The bright rays of the sunset, cutting through the veil of clouds, became a successful background to the picture. Nature through the clouds is seen as bright, lush greenery, perhaps because the heroes descended closer to it. And the girl and the boy in sparkling clothes embroidered with gold do not seem like strangers on the canvas. Their young faces are beautiful, they gently leaned towards each other, personifying fidelity and love.

Alyonushka, Snegurochka, Elena the Beautiful - these fictional images and portraits of women close to Vasnetsov “in spirit” - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontov, portraits of his wife, daughter, niece from different sides highlight what is called the Russian female soul, which becomes for Vasnetsov is the personification of the Motherland, Russia.

Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, a resident of Iria - the Slavic paradise. Her face is feminine, her body is birdlike, her voice is sweet, like love itself. Hearing Alkonost’s singing can forget everything in the world with delight, but there is no evil from her, unlike Sirin.

Alkonost lays eggs at the edge of the sea, but does not hatch them, but immerses them in the depths of the sea. At this time there is no wind for seven days. According to ancient Greek myth, Alcyone, Keik's wife, upon learning of the death of her husband, threw herself into the sea and was turned into a bird, named after her alcyone (kingfisher).

She is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl’s head, overshadowed by a crown and a halo, in which a short inscription is sometimes placed. In addition to wings, Alkonos has hands in which she holds flowers of paradise or a package with an explanatory inscription. She lives in the tree of paradise, on the island of Buyan, together with the bird Sirin, and has a sweet voice, like love itself. When she sings, she doesn’t feel herself. He who hears her wonderful singing will forget everything in the world. With her songs she consoles and elevates future joy. This is the bird of joy.

But Sirin, a dark bird, a dark force, a messenger from the ruler of the underworld. From head to waist Sirin is a woman of incomparable beauty, and from the waist she is a bird. Whoever listens to her voice forgets about everything in the world and dies, and there is no strength to force him not to listen to Sirin’s voice, and death for him at this moment is true bliss. Dahl explained in the famous dictionary this way: “... mythical and church birds owls, or eagle owls, scarecrows; there are popular prints depicting birds of paradise with women's faces and breasts"(V. Dal" Dictionary living Great Russian language"). In Russian spiritual poems, the Sirin, descending from heaven to earth, enchants people with her singing. In Western European legends, the Sirin is the embodiment of an unfortunate soul. This is the bird of sadness.

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Vasnetsov V. M. (realism)

A master of historical and mythological painting, he wrote more than 30 works on the themes of Russian fairy tales, songs, epics, historical events. “I have always lived in Russia,” said Viktor Mikhailovich Vasnetsov. He became famous for such works as “Bogatyrs”, “The Knight at the Crossroads”, “Alyonushka” and others. They can be called picturesque poetic tales about the native Russian people, about the glorious national antiquity and its immortal Russian heroes.

Vasnetsov spent his childhood and early youth in a semi-patriarchal family, in the distant Vyatka region, in the small village of Ryabovo. The father, a village priest, himself taught his sons to read and write. For a long time winter evenings children loved to listen to fairy tales about Alyonushka and Kashchei the Immortal. And little Vitya loved to draw - the blue sea, sailing ships floating on the heaving waves. Victor’s brother, Appolinary Vasnetsov, was also involved in drawing in the family.

Victor first studied in Vyatka, at a theological seminary. But he was more interested in drawing. And after graduating from the seminary, Viktor Vasnetsov went to study in St. Petersburg, at the Academy of Arts. He earned the money for the trip himself. I didn’t enter the Academy right away; I studied at the Drawing School.

While studying at the Academy, there was always a shortage of money, and Vasnetsov worked part-time as an illustrator in magazines and cheap publications. His illustrations were popular, full of lively observation, sincere, sometimes humorous, and earned a bronze medal at the World's Fair in London.

Vasnetsov began working in everyday genre, having gained fame with such films as “The Beggar Singers”, “The Book Shop” and others. In them, the artist showed without embellishment the life of the poor, social injustice in Russian society.

At the turn of the 70s - 80s, a turning point occurred in Vasnetsov’s art. He becomes a master of Russian historical and mythological painting. In 1878, Vasnetsov moved to Moscow, which greatly influenced the artist’s work - with its patriarchal streets, the ancient Kremlin, and ancient churches, it inspired and inspired him.

In Moscow, the Vasnetsov brothers actively participated in the Mamontov circle of artists and art lovers, who gathered at Mamontov’s estate in Abramtsevo. It included such Russian artists as Repin, Polenov, Levitan, Nevrev, Vrubel and many others. And this also contributed to the flowering of the talent of artist Viktor Vasnetsov.

No one, like Vasnetsov, drew so widely and freely from the world of ancient, Russian folk, nameless creativity and left so many wonderful works to its glory.

He was a believer and painted many paintings on religious themes. He himself wrote about it this way: “As for my religious painting, I will also say that I, as an Orthodox Christian and as a sincere Russian believer, could not help but light a penny candle for the Lord God. Maybe this candle is made of rough wax, but it was delivered from the heart,"

In his paintings, Vasnetsov glorified the Russian people, their heroic prowess, courage, their kindness and nobility. He painted the scenery for theater performances, came up with sketches for costumes. The project he created for the facade of the Tretyakov Gallery, made in the spirit of ancient Russian buildings, became a true masterpiece.

Alyonushka (1881)

The plot of this picture arose in Vasnetsov’s head by accident, when he saw in the town of Akhtyrka, not far from Abramtsevo, a bare-haired girl who captured the artist’s imagination. There was so much melancholy, loneliness and purely Russian sadness in her eyes that Vasnetsov immediately imagined the picture. I wandered around the area for a long time, looking for a suitable landscape, drawing sketches, writing sketches...

This is one of the most touching, sincere images in Russian painting, stirring the soul with its heartfelt lyricism, consonant with a fairy tale and folk song about the bitter fate of a defenseless orphan.

A thin, fragile girl with the affectionate Russian name Alyonushka yearns for the river. She bowed her head sadly, clasped her knees with her thin arms, and thought, perhaps, about her bitter lot or about brother Ivanushka. Rough bare feet, old, sometimes faded clothes - it would seem unattractive, but for an artist who sympathizes with his heroine, here the whole world beauty, just like in the modest Russian landscape - dark fir trees, pale sky, ordinary thin-trunked aspens and birches, as if protecting Alyonushka’s peace. A deep sorrow lurks in the soul of the suffering teenage girl; it shows through in her helplessly drooping figure, in her pale face with parched lips, and in her big eyes, full of unshed tears.

Alyonushka is shown by Vasnetsov sitting on a gray “flammable” stone, surrounded by her native nature - on the edge of the forest. This modest and simple Russian landscape, with its thoughtful, sensitive silence, broken only by the vague rustling of the yellowed leaves of aspens and birches, trembling with every movement of air, answers state of mind orphans.

Bogatyrs (1898)

Vasnetsov worked on this painting for almost 25 years, and finally, in 1898, this large epic canvas was completed.

Three heroes stand as a strong heroic outpost in defense of Holy Rus' - Ilya Muromets, Dobrynya Nikitich and Alyosha Popovich. In the middle, on a black horse, is “great ataman Ilya Muromets, peasant son.” His horse is huge, arches his neck like a wheel, and sparkles with a red-hot eye. You won’t be lost with such a horse: “He leaps from mountain to mountain, jumps from hill to hill.” Ilya turned heavily in the saddle, took his leg out of the stirrup, put his hand in a patterned mitten to his eyes, and on his hand was “a damask club of forty pounds.” Vigilantly, sternly, he looks into the distance, looking closely to see if there is an enemy somewhere. On his right hand, on a white shaggy horse, is the hero Dobrynya Nikitich, taking out his long, sharp treasure sword from its sheath, and his shield is burning, adorned with pearls and gems. To the left of Ilya - on a golden horse - is the youngest hero, Alyosha Popovich. He looks slyly with his beautiful, clear eyes, took an arrow from his colored quiver, and attached it to the ringing string of a tight bow. and a samogud harp hangs near the saddle.

The heroes are dressed in rich, beautiful clothes, clad in strong armor, and have helmets on their heads. Autumn day, gray - the sky is low, clouds are moving across the sky; The grass is trampled under the horses' feet, the fir trees are tenderly green. The free Russian steppe stretched wide before the heroes, and behind them were dense forests, hills and mountains, cities and villages - the entire native country of Rus'.

Do not let enemies ride across our land,
Do not trample Russian land with their horses,
They will not outshine our red sun...

“The language of this picture-ballad is simple, majestic and powerful; every Russian will read it with pride, every foreigner with caution if he is an enemy, with a feeling of calm faith in such power - if he is a friend,” he said very well Soviet artist V.N.Yakovlev.

The Frog Princess (1918)

Tea drinking in a tavern (tavern) 1874

In the first hungry months of his life in St. Petersburg, when he wandered around the city, looking for where he could eat cheaply and sit warm, he more than once went into a run-down tavern and a teahouse. I watched for a long time, listened to the conversations of different visitors, and sometimes made sketches. This is how the idea for the picture came about.

The door to the teahouse is open. To the right of the door, a group of peasants is sitting at a table, apparently this is an artel of carpenters who came to St. Petersburg to earn money. They are resting after work. On the table there are two teapots, as it was then supposed to be, one large - with boiling water, the other small, colorful - for tea. They drink tea slowly and sedately. The guy younger than the others has already sipped his tea, knocked over the cup, and is listening to what the artillery scribe, who has a newspaper in his hand, is reading. To the left of the door, an old man sits at a table; he is deep in thought, and he has such an exhausted face that you can immediately tell that he has lived a difficult life. A boy, a tavern servant, stopped at the door; he looks at a lonely old man, to whom he is probably carrying a teapot and saucer of sugar. And behind the boy’s back is a new visitor, who looks like a tipsy artisan.

The painting was exhibited at the third traveling exhibition, where it made a good impression on the audience.

Sketch of a building for Tretyakovskaya art gallery

Ivan the Terrible (1897)

Before us is a portrait of Ivan the Terrible, the image of one of the most controversial rulers of the Russian state. Ivan the Terrible is presented in full height, so that the viewer is forced to look at him as if from the bottom up, which gives the image special significance and grandeur. As if in a hard, reliable case, the figure of the king is dressed in heavy, tightly buttoned, woven golden clothing (feryaz), in patterned mittens and chobots, studded with pearls. And in this barbaric pomp, with a carved staff imperiously clutched in his sinewy hand, he seems like some kind of pagan deity.

Peering into the pale and thin face of Ivan the Terrible, which clearly stands out in the dim space of the stairs, you see in it traces of the stormy, unbridled passions of the autocrat. Before us is a passionate, frantic and contradictory nature.

Ivan Tsarevich on the Gray Wolf (1889)

Another “fairy-tale” painting by Vasnetsov. When she appeared at the exhibition, spectators stood in front of her for a long time. It seemed that they heard the dull rustling of the dense forest, the gentle rustling of the pale pink flowers of the wild apple tree, the rustling of the leaves under the feet of the wolf - here he was, a strong, kind giant wolf, out of breath, saving Ivan Tsarevich and Helen the Beautiful from pursuit. And curious birds sit on a branch and look at them.

“Your “Ivan the Tsarevich on the Wolf” delighted me, I forgot everything around me, I went into this forest, I breathed in this air, smelled these flowers. All this is mine, dear, good! I simply came to life! Such is the irresistible effect of the true and sincere creativity." - This is what Savva Ivanovich Mamontov, an industrialist, famous philanthropist and great lover of art, an exceptionally gifted person, wrote to Vasnetsov after the exhibition of the painting.

Carpet - airplane (new version) 1919-1926

Carpet - airplane (1880)

The hero of this picture is Ivanushka the Fool - a beautiful prince. His older brothers always laugh at him. And when trouble comes, he overcomes all obstacles, and his smart, kind heart conquers evil as the sun conquers darkness. He manages to wake up the sleeping beauty, make Princess Nesmeyana laugh, and get the firebird, which brings happiness to people.

A flying carpet flies high in the sky and Tsarevich Ivan tightly holds the firebird in a golden cage. Like a huge bird, the magic carpet spread its wings. Night owls fly away in fear from an unknown bird...

When Vasnetsov painted this picture, he remembered that first Russian man, a lordly slave, who, on wings he made himself, back in the time of Ivan the Terrible, tried to fly into the sky from a high tower. And even if he died, even if people ridiculed him then for his daring attempt, but proud dreams of flying into the sky will never disappear, and the magic flying carpet will always inspire people to exploits.

Beggar Singers (Pilgrims) 1873

Underwater chamber (1884)

Duel of Peresvet with Chelubey (Telebey) 1914

After the massacre of Igor Svyatoslavich with the Polovtsians (1880)

A large historical canvas, written to the tune of “The Tale of Igor’s Campaign.” The epigraph to Vasnetsov’s work is lines from “The Lay”...:

"From dawn to evening, the whole day,
From evening to light arrows fly,
Sharp sabers rattle on helmets,

With a crash, spears break damask steel...
...They have been fighting for three days now;
The third day is already approaching noon;
Here Igor’s banners fell!

The brave Russians are no longer
There's bloody wine for the feast,
They got the matchmakers drunk, and they themselves
They died for their father's land."

The painting is not just an image of a battle, but epically majestic and enlightened poetic work, causing deep admiration for the heroic death of the heroes who fell for the Motherland, for Holy Rus'. The painting depicts a field after a battle, the artist talks about how brave Russians know how to die defending their native land.

The battle is over; The moon slowly rises from behind the clouds. Quiet. On the field lie the bodies of killed Russian knights, the Polovtsians lie. Here, with his arms spread wide, the Russian hero sleeps in eternal sleep. Next to him is a beautiful fair-haired young man, struck by an arrow - he seems to be sleeping. In the depths of the field, on the right, solemnly and calmly, lies the murdered hero, the bow still clutched in his hand. The flowers - blue bells, daisies - have not even had time to wither, and vulture eagles are already hovering over the field, sensing prey. In the foreground on the left is an eagle preening its feathers. The horizon is covered with blue clouds, the red moon, as if washed in blood, hangs over the steppe. Dusk falls on the steppe. Deep sadness is spread throughout the Russian land.

Like a heroic outpost, Igor’s regiments stood on the border of their land and died for its honor and inviolability - such is the content of this epically majestic and deeply lyrical picture.

Preference (1879)

Crucifixion (1902)

From Apartment to Apartment (1876)

Snow Maiden (1899)

A bright, wonderful picture. Here she is, the sweet, light Snow Maiden - the child of Frost and Spring - comes out of the dark forest alone, to the people, to the sunny country of the Berendeys.

Young lady! Is she alive? - Alive!
In a sheepskin coat, in boots, in mittens!

The Sleeping Princess (1919)

The Last Judgment (1904)

The canvas "The Last Judgment" was created in 1896 - 1904, among other works, for St. George's Cathedral in the city of Gus-Khrustalny, Vladimir Region, by order of the largest manufacturer and philanthropist Yu.S. Nechaev-Maltsev, who built this cathedral. The artist completed several works on a religious theme, but “The Last Judgment” was to occupy a central place in the cathedral.

The artist made a large number of sketches for the painting, so acquaintances and friends who saw these sketches in Vasnetsov’s studio showed great interest in the painting in advance. First, the artist was offered to exhibit the painting in Tretyakov Gallery, but this idea was unsuccessful, since the dimensions of the painting significantly exceeded the dimensions of the room. Nevertheless, such an exhibition took place in February 1904 in Historical Museum in Moscow. The new work evoked numerous responses in the press, mostly enthusiastic. Later, the painting, along with others made for the cathedral, was exhibited twice more: in the halls of the Academy of Arts in St. Petersburg and again in the Historical Museum in Moscow.

Finally, in 1910, the paintings were delivered to their destination and mounted on the walls of St. George's Cathedral, where they briefly found peace.

And soon after October revolution the service in the cathedral was stopped. In February 1923, the authorities made a decision: “...the empty premises of St. George’s Cathedral should be transferred to a cultural and educational institution...” On the very first Sunday, dances were organized in the temple premises, a brass band played... Debates were held on the topic: “Is there God?" Subsequently, the cathedral was used either for workshops or for a cinema.

Meanwhile, the paintings were taken to the Vladimir Assumption Cathedral. They took them out as they had to, without any caution. Moreover, the painting “The Last Judgment” was rolled onto a large pole, torn at the bottom and hastily sewed up with twine. Before that, it had been folded several times and was frayed on the folds.

In the 80s of the last century, it was decided to restore the St. George Cathedral in Gus-Khrustalny, and also to return Vasnetsov’s paintings to their original place.

The "Last Judgment" was in serious condition. Therefore, it was assigned to be restored by a team of Leningrad restorers under the leadership of the greatest specialist A.Ya. Kazakov, known for restoring the paintings of St. Isaac's Cathedral, Peterhof and Tsarskoe Selo. The colossal dimensions required a large room, so the canvas was restored in the Catherine Palace in Pushkin.

The work carried out by specialists was unique in scope and complexity. The solid canvas measuring 700X680 centimeters turned out to be punctured in more than 70 places, there were numerous tears at the edges and breakthroughs. The canvas was seriously deformed, resulting in scree and peeling paint. Hard work was carried out for about a year. And so a special commission accepted the work with an “excellent” rating. In 1983, the painting took its place in St. George's Cathedral.

The artist embodied the idea of ​​free moral choice man between good and evil. The work was not just an illustration of a religious plot. In front of it, everyone could feel themselves in the place of an unknown soul awaiting the verdict of the highest court. The people who came to the cathedral had to think and make their choice of “path in life” with “free will.” Vasnetsov eloquently makes it clear that the scales in the hand of an angel come into action not only at the moment of the Last Judgment. The entire middle part of the picture is perceived as huge scales, on the scales of which are crowds of righteous and sinners, light and darkness... “The entire history of mankind is the struggle of the beast man with the spiritual man...”, the artist wrote.

Good and evil in the film are personified in characters from Russian and Christian history. Among the righteous, the figures of the Byzantine emperors Constantine and Helen, Princess Olga and Prince Vladimir, Alexander Nevsky and Sergius of Radonezh are distinguishable. Among the sinners are Emperor Nero, the conqueror Batu, oriental despots and Roman cardinals... At the same time, many allegorical characters were introduced: Faith, Hope, Love, Sophia, Mercy and others - on the one hand, and on the other - Greed, Drunkenness, Robbery, Anger, etc. Texts and inscriptions are actively used.

Religion, history, and folklore are intricately intertwined here. Thus, the miser swallows gold coins - he is somewhat similar to Repin’s Ivan the Terrible... Among the righteous are depicted an old man and an old woman, as if transported to the Judgment from a Russian folk tale, and the harlots placed behind the Devil resemble characters from salon paintings...

One of the critics wrote this for many years: “The Last Judgment” is a series of symbols, sometimes powerful, sometimes weak, but generally irresistible. This is a terrible oratorio beyond time and space. But this is one of those few truly artistic creations that are worth seeing once to remember forever." And he was right...

Three Princesses of the Underworld (1881)

The picture is based on the plot of a Russian folk tale, which Vasnetsov heard more than once in childhood. Three brothers were looking for a bride. The elder brother searched but did not find it. I looked for the middle one and couldn’t find it. And the youngest, Ivanushka the Fool, found the treasured stone, moved it away and ended up in the underground kingdom, where three princesses lived - Gold, Precious Stones and the Princess of Copper.

Three princesses are standing by a dark rock. The elders are in rich outfits, strewn with precious stones; the youngest is in a black dress, and on her head, in her black hair, a coal is burning as a sign that the lands of the Donetsk region are inexhaustible (the picture was painted by order of the Donetsk railway). Vasnetsov took some liberties here and turned Princess Copper into Princess Coal. According to the fairy tale, the younger sister marries Ivanushka the Fool.

The Knight at the Crossroads (1878)

A Russian hero, a knight in rich armor, wearing a helmet, with a spear in his hand, stopped at a roadside stone on a powerful white horse. The endless steppe with boulders scattered across it goes into the distance. The evening dawn is burning down; a reddish stripe brightens on the horizon, and the last weak ray of the sun slightly gilds the knight’s helmet. The field where Russian soldiers once fought is overgrown with feather grass, the bones of dead people are white, and there are black crows above the field. The Knight reads the inscription on the stone:

"How can I drive straight - I'll never be there:
There is no way for the passer-by, the passer-by, or the flyover.”
Further the lines are hidden under grass and moss. But the knight knows what they are talking about:
"To go in the right direction - to be married,
To the left - to be rich."

What path will the knight choose? Vasnetsov is confident that the audience will “finish” the picture themselves. The glorious Russian knight does not look for easy ways, he will choose a difficult but direct path. All other paths are closed to him. Now he will shake off unnecessary thoughts, raise the reins, spur his horse, and his horse will carry him to battle for the Russian land, for truth.

Bayan (1897)

O Bayan, O prophetic songwriter,
Nightingale of times long past...

Here he is, the “prophetic songwriter” Bayan, sitting on a high burial mound, among field herbs and flowers, fingering his harp, composing and singing songs. Around the princely squad and the prince himself with his little prince, and clouds swirl and float across the sky.

A decorative, widely painted picture, it caused a lot of controversy! But in this simple and at the same time complex picture, Vasnetsov’s amazing sense of proportion, taste, and sincerity was reflected.

In the kingdom of Koshchei the Immortal (1926-27)

Oleg's meeting with the magician (1899)

How the prophetic Oleg is now preparing to take revenge on the unreasonable Khazars,
For the violent raid he doomed their villages and fields to swords and fires;
With his retinue, in Constantinople armor, the prince rides across the field on a faithful horse.
An inspired magician comes towards him from the dark forest,
An old man obedient to Perun alone, a messenger of the covenants of the future,
He spent his entire century in prayers and fortune-telling. And Oleg drove up to the wise old man.
“Tell me, magician, favorite of the gods, what will happen to me in life?
And soon, to the joy of my neighbors-enemies, will I be covered with grave earth?
Reveal to me the whole truth, do not be afraid of me: you will take a horse as a reward for anyone.”
“The Magi are not afraid of powerful rulers, and they do not need a princely gift;
Their prophetic language is truthful and free and friendly with the will of heaven.
The coming years lurk in darkness; but I see your lot on your bright brow.
Now remember my word: to the warrior glory is joy;
Glorified by victory your name; your shield is on the gates of Constantinople;
Both the waves and the land are submissive to you; the enemy is jealous of such a wondrous fate.
And the blue sea is a deceptive wave in the hours of fatal bad weather,
And the sling, and the arrow, and the crafty dagger spare the winner for years...
Under the formidable armor you know no wounds; an invisible guardian has been given to the mighty.
Your horse is not afraid of dangerous work; he, sensing the master's will,
Either he stands quietly under the arrows of enemies, or he rushes across the battlefield.
And the cold and the slashing are nothing to him... But you will accept death from your horse.”

Bogatyrskiy skok (1914)

Gamayun - the prophetic bird (1897)

Guslars (1899)

Bookshop (1876)

Baptism of Rus' (1890)

Portrait of Boris's son

Portrait of Vera Mamontova

Sirin and Alkonost (1898)

Warriors of the Apocalypse (1887)