Romanticism in Russian painting of the 19th century

National consolidation, intensified by the patriotic upsurge of the Patriotic War of 1812, manifested itself in an increased interest in art and in a sharpening interest in public life in general. The popularity of the exhibitions of the Academy of Arts is growing. Since 1824 they began to be held regularly - every three years. The Journal of Fine Arts is launching. Wider manifests collection. In addition to the museum attached to the Academy of Arts in 1825, the Russian Gallery was created in the Hermitage. In the 1810s The "Russian Museum" by P. Svinin was opened.

The victory in the Patriotic War of 1812 was one of the reasons for the emergence of a new ideal, which was based on the idea of an independent, proud person, overwhelmed by strong passions. In painting, a new style is being established - romanticism, which gradually replaced classicism, which was considered the official style, in which religious and mythological themes prevailed.

Already in the early paintings of K. L. Bryullov (1799-1852) “Italian noon”, “Bathsheba” not only the skill and brilliance of the artist’s imagination were manifested, but also the romantic attitude. The main work of K. P. Bryullov “The Last Day of Pompeii” is imbued with the spirit of historicism, its main content is not the heroic deed of an individual hero, but the tragic fate of a mass of people. This picture indirectly reflected the tragic atmosphere of the despotism of the regime of Nicholas I, it became an event in the public life of the state.

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Romanticism was manifested in the portraiture of O. A. Kiprensky (1782-1836). Since 1812, the artist created graphic portraits of World War II participants who were his friends. One of the best creations of O. A. Kiprensky is considered to be a portrait of A. S. Pushkin, having seen which the great poet wrote: “I see myself as in a mirror, but this mirror flatters me.”

The traditions of romanticism were developed by the marine painter I.K.Aivazovsky (1817-1900). The universal fame brought him works that recreate the greatness and power of the sea element ("The Ninth Wave", "Black Sea"). He devoted many paintings to the exploits of Russian sailors ("Chesmensky battle", "Navarino battle"). During the Crimean War of 1853-1856 in the besieged Sevastopol, he arranged an exhibition of his battle paintings. Subsequently, on the basis of field sketches, he was reflected in a number of paintings and the heroic defense of Sevastopol.

V.A. Tropinin (1776-1857), brought up on the sentimentalist tradition of the late 18th century, was greatly influenced by the new romantic wave. Himself in the past as a serf, the artist created a gallery of images of artisans, servants and peasants, giving them the features of spiritual nobility ("Lacemaker", "Seamstress"). Details of life and work bring these portraits closer to genre painting.