Romanticism to Modern Art - Peredvizhniki

Movement:	Romanticism to Modern Art - Peredvizhniki
Dates:	c. 1870 - c. 1890

Historical Context

Peredvizhniki (Russian: , IPA:[prdvink]), often called The Wanderers or The Itinerants in English, were a group of Russian realist artists who formed an artists' cooperative in protest of academic restrictions; it evolved into the Society for Travelling Art Exhibitions in 1870.

History

In 1863 a group of fourteen students decided to leave the Imperial Academy of Arts in Saint Petersburg. The students found the rules of the Academy constraining; the teachers were conservative and there was a strict separation between high and low art. In an effort to bring art to the people, the students formed an independent artistic society; The Petersburg Cooperative of Artists (Artel). In 1870, this organization was largely succeeded by the Association of Travelling Art Exhibits (Peredvizhniki) to give people from the provinces a chance to follow the achievements of Russian Art, and to teach people to appreciate art. The society maintained independence from state support and brought the art, which illustrated the contemporary life of the people from Moscow and Saint Petersburg, to the provinces.

From 1871 to 1923, the society arranged 48 mobile exhibitions in St. Petersburg and Moscow, after which they were shown in Kyiv, Kharkov, Kazan, Oryol, Riga, Odessa and other cities.

Influence of literary critics

Peredvizhniki were influenced by the public views of the literary critics Vissarion Belinsky and Nikolai Chernyshevsky, both of whom espoused liberal ideas. Belinsky thought that literature and art should attribute a social and moral responsibility. Like most Slavophiles, Chernyshevsky ardently supported the emancipation of serfs, which was finally realized in the reform of 1861. He viewed press censorship, serfdom, and capital punishment as Western influences. Because of his political activism, officials prohibited publication of any of his writing, including his dissertation; but it eventually found its way to the art world of nineteenth-century Russia. In 1863, almost immediately after the emancipation of serfs, Chernyshevskys goals were realized with the help of Peredvizhniki, who took the pervasive Slavophile-populist idea that Russia had a distinguishable, modest, inner beauty of its own and worked out how to display it on canvas.

Subjects of the paintings

Peredvizhniki portrayed the many-sided aspects of social life, often critical of inequities and injustices. But their art showed not only poverty but also the beauty of the folk way of life; not only suffering but also fortitude and strength of characters. Peredvizhniki condemned the Russian aristocratic orders and autocratic government in their humanistic art. They portrayed the emancipation movement of Russian people with empathy (for example, The Arrest of a Propagandist, Refusal of Confession, and Not Expected by Ilya Yefimovich Repin). They portrayed social-urban life, and later used historic art to depict the common people (The Morning of the Execution of Streltsy by Vasily Surikov).

During their blossoming (18701890), the Peredvizhniki society developed an increasingly wider scope, with more natural and free images. In contrast to the traditional dark palette of the time, they chose a lighter palette, with a freer manner in their technique. They worked for naturalness in their images, and the depiction of people's relationship with their surroundings. The society united most of the highly talented artists of the country. Among Peredvizhniki there were artists of Ukraine, Latvia, and Armenia. The society also showed the work of Mark Antokolski, Vasili Vereshchagin, and Andrei Ryabushkin. The work of the critic and democrat Vladimir Stasov was important for the development of Peredvizhniki's art. Pavel Mikhailovich Tretyakov showed the work of these artists in his gallery and gave them important material and moral support.

Landscape as the most popular genre of Peredvizhniki

Landscape painting flourished in the 1870s and 1880s. Peredvizhniki painted mainly landscapes; some, like Polenov, used plein air technique. Two painters, Ivan Shishkin and Isaak Levitan, painted only landscapes of Russia. Shishkin is still considered to be the Russian "Singer of forest", while Levitan's landscapes are famous for their intense moods. The Russian landscape gained importance as a national icon after Peredvizhniki.

Peredvizhniki painted landscapes to explore the beauty of their own country and encourage ordinary people to love and preserve it. Levitan once said, "I imagine such a gracefulness in our Russian land overflowing rivers bringing everything back to life. There is no country more beautiful than Russia! There can be a true landscapist only in Russia". Peredvizhniki gave a national character to landscapes, so people of other nations could recognize Russian landscape. The landscapes of Peredvizhniki are the symbolic embodiments of Russian nationality.

Reproduction of works

Even though the number of travelling exhibition visitors from the provinces was increasing during the years, the main audience was the urban elite. Local photographers created the first reproductions of Peredvizhniki's paintings, which helped popularize the works and could be bought at exhibitions. Niva magazine also published illustrated articles about the exhibitions. Since 1898 the landscapes of the society have been used in the postcard industry. Various books of poems were published with the illustrations of landscapes. Ordinary Russian people at that time could not afford to go to Moscow or Saint Petersburg, so popularization of Russian art made them familiar with a number of Russian art masterpieces. Even now publishers use the reproductions in textbooks as a visual icon of national identity.

Decline of creativity

As the authority and public influence of the society steadily grew, government officials had to stop their efforts to repress the members. Attempts were made to subordinate their activity, and raise the falling value of Academy of Arts-sanctioned works. By the 1890s, the Academy of Arts structure was including Peredvizhniki art in its classes and history, and the influence of the artists showed in national art schools.

In 1898, their influence began to be superseded by Mir iskusstva, which advanced modern trends in Russian art. Some of the members of Peredvizhniki became more conservative, but some remained as radical as their predecessors. Some of the artists began showing socialist ideas, which reflected the development of a working-class movement. Many of the Peredvizhniki entered the Soviet art culture bringing the realistic traditions of the 19th century to socialist realism.

The 48th exhibition of Peredvizhniki in 1923 was the last one. Most members joined the Association of Artists in Revolutionary Russia (AKhRR). Its members built on the traditions of Peredvizhniki and aspired to create works of art accessible to the common people and faithfully reflecting the righteousness of Soviet society.

Members

Peredvizhniki artists included:

Abram Arkhipov
Ivan Bogdanov
Nikolay Bogdanov-Belsky
Pavel Brullov
Nikolai Ge
Krlis Hns
Nikolay Kasatkin
Alexander Kiselyov
Ivan Kramskoi
Arkhip Kuindzhi
Nikolai Kuznetsov
Isaac Levitan
Rafail Levitsky
Alexander Litovchenko
Vladimir Makovsky
Vassily Maximov
Grigoriy Myasoyedov
Leonid Pasternak
Vasily Perov
Konstantin Pervukhin
Vasily Polenov
Illarion Pryanishnikov
Ilya Repin
Andrei Ryabushkin
Antonina Rzhevskaya
Konstantin Savitsky
Alexei Savrasov
Valentin Serov
Emily Shanks
Ivan Shishkin
Alexei Stepanov
Vasily Surikov
Vitaly Tikhov
Apollinary Vasnetsov
Viktor Vasnetsov
Yefim Volkov
Nikolai Yaroshenko

References

External links

"A battle for the 'people's cause' or for the market case" Cairn.info
Peredvizhniki (Wanderers), by Kristen M. Harkness, Smarthistory
"The Seeds of Russia's Cultural Revolution: The Peredvizhniki (Wanderers) and The Society for Traveling Art Exhibitions"
Society of Traveling Exhibitions Web Site (in Russian)

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