A genre of fine art associated with the depiction of animals in painting, graphics, sculpture and decorative arts. Is one of the oldest genres of painting . Main activity ancient man there was a hunt. Studying the character of an animal and its habits had practical value. All this was reflected in the rock and wall paintings of primitive people.
An artist who specializes in this genre is called animal painter. He focuses on the artistic and figurative characteristics of the animal, but at the same time conveys its anatomical mood with scientific accuracy.
IN book graphics, illustrations for fairy tales, fables, allegorical and satirical works, the animal is often “humanized,” that is, endowed with traits, actions and experiences inherent in humans, and dressed in costumes.
For sculpture and small plastic surgery, decorative and folk art (wood carving, bone carving, stone carving, clay toys, embroidery), the decorative expressiveness of the figure, silhouette, texture, and color of the animal is especially significant. In Russian art there has developed large group artists who created vivid images of animals: E. Lanceray, P. Klodt, V. Serov, V. Vatagin, I. Efimov, E. Charushin, E. Rachev, Y. Vasnetsov and others.
EXAMPLES:
V.A. Vatagin. "Young Antelopes" "Sketch of an elephant." "Ctpayc." "Giraffe". Paper, pencil
The most important thing in sketching animals is to convey them characteristic features. For example, the main thing about an elephant is its massiveness and leisurely gait. The artist sketched the elephant using soft, wide, leisurely lines. These lines have different lighting - in some places they are bright, in others they are barely noticeable. This drawing technique helps to convey the volume of an object.
In Vatagin’s work one can find unique portraits of animals. For example, a drawing of a beautiful giraffe. Her huge sparkling eyes, quivering lips, graceful ears, and high neck evoke admiration!
Young antelopes are graceful and flexible. The artist admires their graceful forms. With love, he draws the lines of the neck, smoothly turning into the body. The line seems to flow from the bottom of the muzzle to the ear and falls again to the neck. An unusually expressive sketch of an ostrich! The bird goes on the offensive: powerful wings open, a quick step of strong legs, and it even seems that its cry can be heard.
One of the main tasks that the artist sets for herself is to create on her canvases a world of living creatures, both neighboring us and those found only in places where humans rarely set foot. And not only those animals that are recognized by humans as standards of beauty, and not only those that can be kept in the house, especially in the apartment. Therefore, among the heroes of her paintings are cute Yorkies, pugs, Persian cats, budgies ibises that bring happiness, as well as the far from harmless lions, tigers, jaguars, wolves, lynxes, and eagles.
And let someone be afraid of a living jaguar or orangutan - after all, the character in the picture, to paraphrase Ivan Bunin, is not a piece of gold for everyone to love. Some may like him, others may not - but the character in the picture will never offend or scare anyone. Moreover, the character in the painting will never change his mood, his character will not deteriorate, he will not even grow old, but will forever remain living on the canvas exactly as the artist captured him. And not at a random moment, as happens when taking photographs, but by summarizing your knowledge, observations and impressions, fusing them into what is called an artistic image.
But paintings live for hundreds, thousands of years - and someday it will be by them that our distant descendants will judge the creatures that coexisted with humans at the end of the twentieth century - beginning of XXI century.
Nikolay PROSHIN
Paintings by Marina Efremova were used in the design of the article: Husky, 2005, oil on canvas; Orangutan, 2003, oil on canvas; Greyhounds in the field, 2002, oil on canvas; old wolf , 2007, oil on canvas; White Tiger, 2007, oil on canvasArt: business or destiny?
Animalistics, - animal painting and animalistic drawing, -
despite other artistic projects, continues to remain
one of Marina Efremova’s favorite genres. And it’s no coincidence that exactly
animalism has become main theme interview "Pictorial Energy",
which journalist Olga Volkova took from Marina Efremova.
"Animal painting exhibition as an artistic and educational event"
Below are some animal paintings by Marina Efremova, painted in 1999-2010. Some of them are in private collections, some are in the artist’s collection.
Art critic Nikolai Efremov. Report at a scientific and practical conference,
dedicated to the 125th anniversary of Vasily Alekseevich Vatagin
(February 5, 2009 - State Tretyakov Gallery;
February 6, 2009 - State Darwin Museum)
Paintings with dogs: “Vaska the Basset Hound”, “Lying Yorkie”, “Portrait of the Yorkshire Terrier Lucky”, “White Guardian (Dogo Argentino)”, “Black Guardian (Rottweiler)”, “Yorkie Tofik”, “Yorkie Manya”, "Yorkie Chink", "Portrait of Timony", "Husky Team", "Mongrels", " Late fall", "Greyhounds in a field", "Portrait of a German Shepherd", "Pugs", "Portrait of a Rottweiler", "St. Bernard Vanessa", "Puppy with a hare", "Boxer Puppy", "Basset Hound Archie".
Paintings with cats: “Cat Timych”, “Cat Gray”, “Cat Zhulka”, “Cat Murash”, “Black Keeper of the Hearth”, “White Keeper of the Hearth”, “Red Cat”.
Paintings with horses: “Black Horse”, “Bay”.
Paintings with wild animals: “Portrait of a Gorilla”, “Waiting (Portrait of a Wolf)”, “Portrait of a Tiger”, “White Tiger”, “Old Wolf”, “Last Dash”, “Buffalo Head”, “Mandrill”, “Portrait of a Lioness” ", "Lion and Falcon", "Orangutan", "Black Jaguar", "Belek", "Fox", "Wolf", "Portrait of a Wolf".
Paintings with birds: “Eagle”, “Ibis”, “Blue-and-yellow macaw”, “Kafian horned raven”.
And less often in decorative arts. Animal art combines natural science and artistic principles. The main task An animal painter can be both the accuracy of the image of an animal and artistic and figurative characteristics, including decorative expressiveness or endowing animals with traits, actions and experiences inherent in humans (for example, the depiction of anthropomorphic characters in fairy tales and fables).
From sculpture, animalistic ceramics are widespread.
Stylized figures of animals are found among the monuments of the animal style, in the art of the Ancient East, Africa, Oceania, ancient America, in folk art many countries.
Artists working in the animalistic genre are called animalists .
Famous animal painters
- Yi Yuanji (c. 1000 - c. 1064) was a Chinese artist especially known for his skill in painting monkeys.
- Zhu Zhanji (1398-1435) - Chinese emperor and master of drawing dogs and monkeys.
- Albrecht Durer (1471-1528) - German painter and graphic artist.
- Frans Snyders (1579-1657) - Flemish painter.
- Jan Wildens (1586-1653) - Flemish painter.
- Vaclav Hollar (1607-1677) - Czech graphic artist and engraver.
- Jan Faith (1611-1661) - Flemish artist and engraver.
- Paulus Potter (1625-1654) - Dutch painter.
- David Koninck (1636-1699) - Flemish painter.
- Ivan Grot (1717-1801) - Russian painter.
- George Stubbs (1724-1806) - English painter.
- Mori Sosen (森狙仙) (1749-1821) - Japanese master of drawing monkeys.
- Jacques-Laurent Agas (1767-1849) - Swiss painter.
- Karl Kuntz (1770-1830) - German painter and engraver.
- Antoine-Louis Bari (1797-1875) - French painter and sculptor.
- Eugene Delacroix (1798-1863) - French painter and graphic artist.
- Christophe Fratin(1801-1864) - French sculptor.
- Edwin Henry Landseer (1802-1873) - English painter and sculptor.
- Pyotr Klodt (1805-1867) - Russian sculptor.
- Edward Lear (1812-1888) - animal artist, poet, representative of nonsense poetry.
- Philippe Rousseau (1816-1887) - French painter.
- Joseph Wolf (1820-1899) - German graphic artist and painter.
- Auguste Nicolas Cahen (1822-1894) - French sculptor.
- Emmanuel Fremier (1824-1910) - French sculptor.
- Brighton Riviere (1840-1920) - English painter.
- Evgeny Lanceray (1848-1886) - Russian sculptor.
- Heinrich von Zügel (1850-1941) - German painter.
- Francois Pompon(1855-1933) - French sculptor.
- Heinrich Harder (1858-1935) - German painter and illustrator.
- Friedrich Wilhelm Kühnert(1869-1921) - German painter and illustrator.
- August Gaul (1869-1921) - German sculptor.
- Franz Marc (1880-1916) - German expressionist painter.
- Vasily Vatagin (1883-1969) - Russian painter and sculptor.
- Evgeny Charushin (1901-1965) - Russian graphic artist, Honored Artist of the RSFSR.
- Konstantin Flerov (1904-1980) - Russian paleontologist, graphic artist and painter, Doctor of Biological Sciences.
- Nikolai Kondakov (1908-1999) - Russian biologist, illustrator, PhD.
- Andrey Marts (1924-2002) - famous Soviet and Russian animal sculptor, Honored Artist of the RSFSR.
- Alexey Tsvetkov (1924-2011) - Soviet and Russian animal sculptor, Honored Artist of the Russian Federation.
- Robert Bateman(born 1930) - Canadian animal artist.
- Rien Purtvliet(1932-1995) - Dutch illustrator.
- Akulov Vladimir Ivanovich (born 1954) is a famous Belarusian artist, graphic artist and painter, creator of a number of large-scale animalistic cycles.
- Marina Efremova (born 1961) is a Russian animal artist.
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- - Exhibition “Animalism” at the Complutense University of Madrid
An excerpt characterizing Animalism
– Your Excellency, I would like to be useful here. Let me stay in the detachment of Prince Bagration.“Sit down,” said Kutuzov and, noticing that Bolkonsky was hesitating, “I need good officers myself, I need them myself.”
They got into the carriage and drove in silence for several minutes.
“There is still a lot ahead, there will be a lot of things,” he said with an senile expression of insight, as if he understood everything that was happening in Bolkonsky’s soul. “If one tenth of his detachment comes tomorrow, I will thank God,” added Kutuzov, as if speaking to himself.
Prince Andrei looked at Kutuzov, and he involuntarily caught his eye, half an arshin away from him, the cleanly washed assemblies of the scar on Kutuzov’s temple, where the Izmail bullet pierced his head, and his leaking eye. “Yes, he has the right to talk so calmly about the death of these people!” thought Bolkonsky.
“That’s why I ask you to send me to this detachment,” he said.
Kutuzov did not answer. He seemed to have already forgotten what he had said and sat thoughtful. Five minutes later, smoothly rocking on the soft springs of the stroller, Kutuzov turned to Prince Andrei. There was no trace of excitement on his face. With subtle mockery, he asked Prince Andrei about the details of his meeting with the emperor, about the reviews he had heard at court about the Kremlin affair, and about some common women he knew.
Kutuzov, through his spy, received news on November 1 that put the army he commanded in an almost hopeless situation. The scout reported that the French in huge numbers, having crossed the Vienna bridge, headed towards Kutuzov’s route of communication with the troops coming from Russia. If Kutuzov had decided to stay in Krems, then Napoleon’s army of one and a half thousand would have cut him off from all communications, surrounded his exhausted army of forty thousand, and he would have been in Mack’s position near Ulm. If Kutuzov had decided to leave the road that led to communications with troops from Russia, then he would have had to enter without a road into the unknown lands of the Bohemian
mountains, defending themselves from superior enemy forces, and abandoning all hope of communication with Buxhoeveden. If Kutuzov had decided to retreat along the road from Krems to Olmutz to join forces with troops from Russia, then he risked being warned on this road by the French who had crossed the bridge in Vienna, and thus being forced to accept battle on the march, with all the burdens and convoys, and dealing with an enemy three times his size and surrounding him on both sides.
Kutuzov chose this last exit.
The French, as the spy reported, having crossed the bridge in Vienna, were marching in an intensified march towards Znaim, which lay on Kutuzov’s retreat route, more than a hundred miles ahead of him. To reach Znaim before the French meant to have great hope of saving the army; to allow the French to warn themselves in Znaim would probably mean exposing the entire army to a disgrace similar to that of Ulm, or to general destruction. But it was impossible to warn the French with their entire army. The French road from Vienna to Znaim was shorter and better than the Russian road from Krems to Znaim.
On the night of receiving the news, Kutuzov sent Bagration’s four-thousand-strong vanguard to the right over the mountains from the Kremlin-Znaim road to the Vienna-Znaim road. Bagration had to go through this transition without rest, stop facing Vienna and back to Znaim, and if he managed to warn the French, he had to delay them as long as he could. Kutuzov himself, with all his hardships, set out for Znaim.
Having walked with hungry, shoeless soldiers, without a road, through the mountains, on a stormy night forty-five miles, having lost a third of the stragglers, Bagration went to Gollabrun on the Vienna Znaim road several hours before the French approached Gollabrun from Vienna. Kutuzov had to walk another whole day with his convoys to reach Znaim, and therefore, in order to save the army, Bagration, with four thousand hungry, exhausted soldiers, had to hold off for a day the entire enemy army that met him in Gollabrun, which was obvious , impossible. But a strange fate made the impossible possible. The success of that deception, which gave the Vienna bridge into the hands of the French without a fight, prompted Murat to try to deceive Kutuzov in the same way. Murat, having met Bagration’s weak detachment on the Tsnaim road, thought that it was the entire army of Kutuzov. In order to undoubtedly crush this army, he waited for the troops that had fallen behind on the road from Vienna and for this purpose proposed a truce for three days, with the condition that both troops would not change their positions and would not move. Murat insisted that negotiations for peace were already underway and that, therefore, avoiding useless shedding of blood, he was offering a truce. The Austrian general Count Nostitz, who was stationed at the outposts, believed the words of the envoy Murat and retreated, revealing Bagration's detachment. Another envoy went to the Russian chain to announce the same news about peace negotiations and offer a truce to the Russian troops for three days. Bagration replied that he could not accept or not accept a truce, and with a report of the proposal made to him, he sent his adjutant to Kutuzov.
The truce for Kutuzov was the only way to gain time, give Bagration’s exhausted detachment a rest and allow convoys and loads to pass through (the movement of which was hidden from the French), although there was one extra march to Znaim. The offer of a truce provided the only and unexpected opportunity to save the army. Having received this news, Kutuzov immediately sent Adjutant General Wintzingerode, who was with him, to the enemy camp. Winzengerode had to not only accept the truce, but also offer terms of surrender, and meanwhile Kutuzov sent his adjutants back to hurry as much as possible the movement of convoys of the entire army along the Kremlin-Znaim road. The exhausted, hungry detachment of Bagration alone had to, covering this movement of the convoys and the entire army, remain motionless in front of an enemy eight times stronger.
Tatiana Safronova
Presentation “Animalistic genre in fine arts»
Fine art takes important place in aesthetic development preschool children. A child must be taught to see the beauty around him - in nature, life and human activity.
IN preschool age need to make the most of this huge opportunity art, which affects the psyche, intellect, and mind of a person, expands his emotional experience, and teaches him to realize his role in a person’s life.
IN kindergarten children get acquainted with the various species available to their age visual arts. Using the best examples of folk art and works of masters, the teacher cultivates their interest and ability to aesthetically perceive paintings, sculptures, folk objects artistic creativity, illustrations in books, forms the foundations of aesthetic taste, the ability to independently evaluate works art.
Painting, graphics, sculpture, architecture, arts and crafts art - types of fine arts, different and general features, and specific visual means.
Painting means "write life", "write alive", that is, to fully and convincingly convey reality. Painting - view visual arts, whose works reflect reality and influence the thoughts and feelings of the audience.
home distinctive feature painting is that image form and space, images and actions are built exclusively with the help of color.
Painting techniques have been constantly improved over the centuries. Painters were attracted to increasingly diverse subjects. This led to the emergence genres: portrait, still life, landscape, animalistic genre, historical, battle, mythological, everyday genre.
Introducing preschoolers to animalistic genre.
Target: introducing children to animalistic genre.
Tasks:
1. Form children’s ideas about animalistic genre;
2. Introduce the works of artists animalists;
3. Expand your horizons in the field visual arts;
4. Instill in children a responsible attitude and love for animals.
Animalistic genre
animal images.
One of the most favorite topics in drawing for both children and adults is the theme animal images.
If we see it in the picture
Tiger and walrus on an ice floe
Caterpillar on a leaf
This animalistics!
Animalistic genre - depiction of animals in painting, sculpture and graphics.
The name comes from Latin word « animal» , which translated means animal.
Artists working in animalistic genre, are called animalists.
In the history of development fine art genre image animals - one of the most ancient on Earth.
Primitive people painted animals and hunting scenes.
Animals are the source of life for humans. It is inextricably linked with the animal world and depends on it.
In the process of development, humanity has mastered new forms of communication with animals peace: in a tamed animal, man found a protector of his well-being and a devoted friend.
IN ancient world Images animals were symbolic.
Dogs are servants and guards. They symbolize friendship unconditional love, insight, tracking, camaraderie, intuition and truth.
The horse symbolizes strength, ability to work, speed, endurance, endurance, loyalty, friendship.
Snakes symbolize knowledge, change, wisdom, secrets, mystery.
Spiders are weavers and deceivers. They can serve as a sign warning of danger.
Wolves symbolize family, learning, cooperation, mystery, strength, leadership, freedom, hunting, searching, introspection, listening, magic, dreams.
A whole galaxy of artists - animalists sings praises amazing world wildlife.
Animals in the works of V. A. Vatagin are humanized, they are endowed with certain human traits and feelings characteristic of humans (arrogance, severity, significance, concentration, melancholy, etc.)
Depict animal from nature is very difficult. Therefore, the artist must spend hours observing them.
Animalism is not only associated with fine arts, but also with literature. Very often we see in the images of animals specific human traits that are either praised or denounced by the author.
The fox is cunning and resourceful, the hare is cowardly, the bear is strict but fair.
In illustrations by E. I. Charushin, artist animalist, the world of animals is revealed in vivid images, with great warmth and humanity. He has his own techniques for conveying shape, color and texture. His characters are realistic and fabulous at the same time.
E. I. Charushin illustrated the works of V. V. Bianchi, S. Ya. Marshak, K. I. Chukovsky, M. M. Prishvin and others.
Wonderful drawings for Krylov’s fables were made by the Russian artist Evgeny Rachev.
There is a gullible crow with cheese, a sly fox, and an awkward quartet playing “the naughty Monkey, the Donkey, the Goat and the club-footed Bear”.
check yourself:
1. What do you know about animalistic genre?
2. Name the artists- animalists.
3. What can you say about the drawings of animals made by E. Rachev, V. Vatagin?
4. Do you like to draw animals? Which your favorite animal?
). However, for the purposes of this article we will only consider object art.
Historically, all genres were divided into high and low. TO high genre or historical painting included works of a monumental nature, carrying some kind of morality, a significant idea, demonstrating historical, military events associated with religion, mythology or artistic fiction.
TO low genre included everything connected with everyday life. These are still lifes, portraits, household painting, landscapes, animalism, images of naked people, etc.
Animalism (lat. animal - animal)
The animalistic genre arose in ancient times, when the first people painted predatory animals on the rocks. Gradually this direction grew into independent genre, implying an expressive image of any animal. Animalists usually have a great interest in the animal world, for example, they can be excellent equestrians, keep pets, or simply study their habits for a long time. As a result of the artist's intentions, animals can appear realistic or in the form of artistic images.
Among Russian artists, many were well versed in horses, for example, and. Yes, on famous painting Vasnetsov's “Bogatyrs”, heroic horses are depicted with the greatest skill: the colors, behavior of the animals, bridles and their connection with the riders are carefully thought out. Serov did not like people and considered horses in many ways better than man, which is why he often portrayed her in a variety of scenes. although he painted animals, he did not consider himself an animalist, so bears were his famous painting"Morning in pine forest” was created by the animalist K. Savitsky.
In tsarist times, portraits with pets, which were dear to man, became especially popular. For example, in the painting, Empress Catherine II appeared with her beloved dog. Animals were also present in the portraits of other Russian artists.
Examples of paintings by famous Russian artists in the everyday genre
History painting
This genre involves monumental paintings that are designed to convey to society a grandiose plan, some truth, morality, or demonstrate significant events. It includes works on historical, mythological, religious themes, folklore, as well as military scenes.
In ancient states, myths and legends were long considered events of the past, so they were often depicted on frescoes or vases. Later, artists began to separate the events that took place from fiction, which was expressed primarily in the image battle scenes. IN Ancient Rome, Egypt and Greece, scenes of heroic battles were often depicted on the shields of victorious warriors in order to demonstrate their triumph over the enemy.
In the Middle Ages, due to the dominance of church dogmas, religious themes prevailed; in the Renaissance, society turned to the past mainly for the purpose of glorifying its states and rulers, and since the 18th century, this genre has often been turned to for the purpose of educating youth. In Russia, the genre became widespread in the 19th century, when artists often tried to analyze the life of Russian society.
In the works of Russian artists, battle painting was presented, for example, and. He touched on mythological and religious subjects in his paintings. Historical painting predominated among, folklore - among.
Examples of paintings by famous Russian artists in the genre of historical painting
Still life (French nature - nature and morte - dead)
This genre of painting is associated with the image inanimate objects. They can be flowers, fruits, dishes, game, kitchen utensils and other objects, from which the artist often creates a composition according to his plan.
The first still lifes appeared in ancient countries. IN Ancient Egypt It was customary to depict offerings to the gods in the form of various dishes. At the same time, the recognition of the object came first, so the ancient artists did not particularly care about chiaroscuro or the texture of still life objects. IN Ancient Greece and in Rome, flowers and fruits were found in paintings and in houses for interior decoration, so that they were depicted more authentically and picturesquely. The formation and flourishing of this genre occurred in the 16th and 17th centuries, when still lifes began to contain hidden religious and other meanings. At the same time, many varieties appeared depending on the subject of the image (floral, fruit, scientist, etc.).
In Russia, still life painting flourished only in the 20th century, since before that it was used mainly for educational purposes. But this development was rapid and captured, including abstract art with all its directions. For example, he created beautiful compositions of flowers in, preferred, worked in, and often “revitalized” his still lifes, giving the viewer the impression that the dishes were about to fall off the table or that all the objects were about to start rotating.
The objects depicted by artists were, of course, influenced by their theoretical views or worldview and state of mind. Thus, these were objects depicted according to the principle of spherical perspective discovered by him, and expressionist still lifes amazed with their drama.
Many Russian artists used still life mainly for educational purposes. So, not only honed artistic skill, but also conducted many experiments, arranging objects in different ways, working with light and color. experimented with the shape and color of the line, sometimes moving away from realism into pure primitivism, sometimes mixing both styles.
Other artists combined in still lifes what they had previously depicted with their favorite things. For example, in the paintings you can find his favorite vase, sheet music and a portrait of his wife that he had previously created, and he depicted his favorite flowers from childhood.
Many other Russian artists worked in the same genre, for example, and others.
Examples of paintings by famous Russian artists in the still life genre
Nude (French nudite - nudity, abbreviated as nu)
This genre is intended to depict the beauty of the naked body and appeared before our era. In the ancient world great attention paid physical development, since the survival of the entire human race depended on it. Thus, in Ancient Greece, athletes traditionally competed naked so that boys and young men could see their well-developed bodies and strive for the same physical perfection. Around the 7th-6th centuries. BC e. Nude male statues also appeared, personifying the physical power of a man. Female figures, on the contrary, were always presented to the audience in robes, since it was not customary to expose the female body.
In subsequent eras, attitudes towards nudity changed. Thus, during Hellenism (from the end of the 6th century BC), endurance faded into the background, giving way to admiration of the male figure. At the same time, the first female nude figures began to appear. In the Baroque era, women with curvy figures were considered ideal; in Rococo times, sensuality became paramount, and in XIX-XX centuries paintings or sculptures of nude bodies (especially male ones) were often banned.
Russian artists have repeatedly turned to the nude genre in their works. So, these are dancers with theatrical attributes, these are posing girls or women in the center of monumental scenes. This has a lot of sensual women, including in couples, this has a whole series of paintings depicting naked women in various activities, and this has girls full of innocence. Some, for example, depicted completely naked men, although such paintings were not welcomed by the society of their time.
Examples of paintings by famous Russian artists in the nude genre
Landscape (French Paysage, from pays - terrain)
In this genre, the priority is the depiction of natural or man-made environment: natural areas, views of cities, villages, monuments, etc. Depending on the chosen object, natural, industrial, marine, rural, lyrical and other landscapes are distinguished.
The first landscapes of ancient artists were discovered in Neolithic rock paintings and were images of trees, rivers or lakes. Later, the natural motif was used to decorate the home. In the Middle Ages, the landscape was almost completely replaced by religious themes, and in the Renaissance, on the contrary, the harmonious relationship between man and nature came to the fore.
In Russia landscape painting developed from the 18th century and was initially limited (landscapes, for example, were created in this style), but later a whole galaxy of talented Russian artists enriched this genre with techniques from different styles and directions. created the so-called low-key landscape, that is, instead of chasing spectacular views, he depicted the most intimate moments in Russian nature. and came to a lyrical landscape that amazed the audience with its subtly conveyed mood.
And this is an epic landscape, when the viewer is shown all the grandeur of the surrounding world. endlessly turned to antiquity, E. Volkov knew how to turn any discreet landscape into a poetic picture, amazed the viewer with his marvelous light in the landscapes, and could endlessly admire forest corners, parks, sunsets and convey this love to the viewer.
Each of the landscape painters concentrated his attention on the landscape that fascinated him especially strongly. Many artists could not ignore large-scale construction projects and painted many industrial and urban landscapes. Among them are works by other artists. fascinated by the monuments, and