Apollinaris Mikhailovich Vasnetsov (1856-1933)

The younger brother of the famous Viktor Vasnetsov, much less known, Apollinaris Vasnetsov was not at all shy of his shadow, and had quite a distinctive talent. He received no formal artistic education. His school was the direct communication and collaboration with leading Russian artists: his brother, I. Repin , V. Polenov , etc. The young artist is primarily concerned with the landscape. His early work (1880.) Are not free from the influences of older contemporaries.

 Gradually gaining strength and skill, the artist seeks to create a generalized images, in which he will be able to maximize the fullness express their deep, intimate sense of connection with their native land, with the homeland. The best thing of this period is called - "Homeland" (1886).
 It is no coincidence A. Vasnetsov becomes mature and original master when refers to the image familiar to him from childhood nature of the Russian North.

 In the 1890s and early 1900s. He wrote his most important works: "Taiga in the Urals. Blue Mountain" (1891), "Siberia" (1894), "Kama" (1895), "Northern Territory" (1899), "The Lake" (1902), etc. This is not a quiet, poetic Russia, but Russia and the elemental force of unbridled swing, the one that gives rise to mighty warriors and defenders, and dashing Udaltsov and robbers.

At the turn of the century for the love of Russian history, the beauty of the old way of life and the monuments of old Moscow in the artist's work, a new genre - a special type of historical landscape in which A. Vasnetsov trying to revive the character and life itself before Peter of Moscow. In this task, combined the Vasnetsov artist and researcher Vasnetsov.

Here he was not alone, while recreating the daily life of the pre-Petrine Russia engaged other artists - A. Ryabushkin , S. Ivanov . But as a connoisseur of ancient Russian architecture Vasnetsov had no equal. With pleasure artist immersed in an almost fairytale strangeness and beauty of the architecture ("A Street in China town. Early XVII century", "Moskvoretsky Bridge and the Water Gate. Middle of the XVII century," both in 1900, "All Saints stone bridge. Late XVII century" 1901). Moscow during the foundation ("Foundation of Moscow. Construction of the first walls of the Kremlin Yuri Dolgoruky in 1156", 1917) and in the XIV century. ("Moscow Kremlin with Dmitry Donskoy", 1922), Moskow chinnaya, almost blissful ("Ivan the Great Square in Moscow. XVII Century", 1903) and Moscow tragic, terrible ("Moscow dungeon XVI century", 1912). A huge series of oil paintings and watercolors. At the same time the artist continued to write and "ordinary" landscapes, but the strength and scope of works 1890 - early 1900. in which he has not achieved.

Like many of the leading artists of the era, A. Vasnetsov worked extensively in the theater. With theater work, he came into contact as early as the 1880s. in Abramtzevo, the estate of Savva Mamontov, when, together with other members of the Mamontov circle wrote the scenery for "living pictures" and home shows.
Mamontov in 1897 invited him to make the statement "Khovanshchina" Mussorgsky in Moscow Private Opera. The story of the Russian history of the end of the XVII century. Vasnetsov demanded meticulous historical (and archaeological) reconstruction. Among other theatrical works Vasnetsov (after the success of "Khovanshchina" he was invited to various opera houses for stagecraft to the "Russian" theme) has been particularly successful design of Rimsky-Korsakov's "The Tale of the Invisible City of Kitezh" (1906, Mariinsky Theatre in St. Petersburg and the Bolshoi Theatre in Moscow).

 A. Vasnetsov was among the founders of the CPX, taught, often appeared in the press with articles on the protection of monuments and the theory of art, was in various scientific societies and committees. The singer of old Moscow, he at the same time occupied a prominent place in the cultural life of the capital of the first third of the XX century.

See also: http://vasnec.ru - site of the artist Ap.Vasnetsove.