Ažurirano Studeni 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 27 djela Grigorij Mjasojedov u našem katalogu
Ukratko
Iz perspektive galerije, najpoznatije djelo umjetnika Grigorij Mjasojedov je The road in the rye (1881). The burning of Archpriest Avvakum (1897) i Autumn Morning (1893) upotpunjuju triju koju svako oko prepoznaje. Od 27 djela umjetnika Grigorij Mjasojedov u našem katalogu, galerija u nastavku prikazuje 27 najpoznatijih, od kojih je svako originalno, s navedenom godinom nastanka, muzejom i onim što ga čini jedinstvenim.
In this 1881 composition, we find ourselves standing amidst the tall, swaying grasses of a Russian field. A solitary man occupies the center of the frame, his gaze fixed upon something distant, perhaps lost in thought or observing the movement of the clouds above. The scene captures a specific, unhurried moment of rural existence. Around him, the landscape feels vast, yet it is populated by smaller, subtle figures scattered throughout…
In this 1897 work, Grigoriy Myasoyedov captures a harrowing scene from 1682, centered on the execution of Archpriest Avvakum. The composition is crowded, filled with the heavy presence of a large assembly gathered to witness a moment of profound religious and social upheaval. A massive fire dominates the center of the canvas, its heat almost palpable through the visual depiction of flames engulfing the man at the heart of the…
In this 1893 work, we find ourselves standing at the edge of a Russian woodland during the transition of seasons. The scene captures a specific, fleeting moment where the warmth of the sun meets the cooling air of the season. Trees dominate the composition, their foliage rendered in a palette of reds, oranges, and yellows that contrast against the lingering green of the leaves. It is a study of light…
The painting titled Escape of Gregoriy Otrepyev from Inn on the Lithuanian Border . was executed by the Russian artist Grigoriy Myasoyedov. This work was created about 1862. The subject matter of the canvas is a specific scene derived from the play Boris Godunov by Pushkin.
A three-quarter pose defines this study of the artist, captured in a moment of quiet introspection. The composition is dominated by the head and shoulders, emerging from a void of deep, near-black shadow. Light descends from above and to the right, carving the features of the face through a sharp chiaroscuro effect. This focused illumination highlights the forehead, the bridge of the nose, and the cheekbones, while leaving the lower…
The oil painting depicts two women seated at a round table in a dimly lit room. A large, ornate lamp with a pleated red shade sits upon the table, acting as the primary light source. This lamp casts a concentrated glow onto the subjects, illuminating the pale skin of their faces and the white fabric of a blouse worn by the younger woman. The older woman leans her head against…
The painting depicts a small stream flowing through a dense woodland. A creek occupies the center of the composition, its surface appearing calm and still. Surrounding the water, a collection of at least twelve trees is positioned at varying distances from the viewer. Some trees stand in the foreground, their leaves rendered with distinct detail, while others recede into the background to create a sense of depth. The foliage is…
The Enbarkement in Yalta is a stunning oil on canvas painting created by the renowned Russian artist Grigoriy Myasoyedov in 1890. This beautiful piece of art is a testament to the artist's skill and attention to detail, showcasing a bustling harbor scene with several boats docked in the water. The painting measures 47 x 64 cm and is a prime example of Realism, a style that Myasoyedov was known for.…
Portrait of I. Repin (study)1883
12
Autumn landscape in Crimea1884
13
People burning themselves1884
14
Sower1888
15
Portrait of Shishkin1891
16
Portrait of fiddler V. G. Walter1902
17
Reaper
18
In the salon of Zenaida Volkonskaya1907
19
By happiness of others (Two fates)
20
Prayer in time of droughtNarodni muzej u Varšavi
21
Portrait of old woman
22
Spaniard
23
Grandfather of the Russian Fleet1871
24
The Zemstvo Dines1872 · Tretyakovljeva galerija
25
Time of harvesting (Mowers)1887 · Državni ruski muzej
26
Portrait of chess player A. D. Petrova
27
Reading of the 1861 Manifesto1873 · Tretyakovljeva galerija
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka s svojim vrhunskim primjerom.
4 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Grigorij Mjasojedov | Slike iz ovog popisa |
|---|---|---|---|
 Tretyakovljeva galerija |
Moskva | 2 | The Zemstvo Dines, Reading of the 1861 Manifesto |
 Yekaterinburg Museum of Fine Arts |
Jekaterinburg | 1 | Candlelight |
 Narodni muzej u Varšavi |
Varšava | 1 | Prayer in time of drought |
 Državni ruski muzej |
Sankt Peterburg | 1 | Time of harvesting (Mowers) |
Odaberite desetljeće kako biste vidjeli original koji ga definira.
The painting titled Escape of Gregoriy Otrepyev from Inn on the Lithuanian Border . was executed by the Russian artist Grigoriy Myasoyedov. This work was created about 1862. The subject matter of the canvas is a specific scene derived from the play Boris Godunov by Pushkin.
A three-quarter pose defines this study of the artist, captured in a moment of quiet introspection. The composition is dominated by the head and shoulders, emerging from a void of deep, near-black shadow. Light descends from above and to the right, carving the features of the face through a sharp chiaroscuro effect. This focused illumination highlights the forehead, the bridge of the nose, and the cheekbones, while leaving the lower…
In this 1881 composition, we find ourselves standing amidst the tall, swaying grasses of a Russian field. A solitary man occupies the center of the frame, his gaze fixed upon something distant, perhaps lost in thought or observing the movement of the clouds above. The scene captures a specific, unhurried moment of rural existence. Around him, the landscape feels vast, yet it is populated by smaller, subtle figures scattered throughout…
In this 1897 work, Grigoriy Myasoyedov captures a harrowing scene from 1682, centered on the execution of Archpriest Avvakum. The composition is crowded, filled with the heavy presence of a large assembly gathered to witness a moment of profound religious and social upheaval. A massive fire dominates the center of the canvas, its heat almost palpable through the visual depiction of flames engulfing the man at the heart of the…
The oil painting depicts two women seated at a round table in a dimly lit room. A large, ornate lamp with a pleated red shade sits upon the table, acting as the primary light source. This lamp casts a concentrated glow onto the subjects, illuminating the pale skin of their faces and the white fabric of a blouse worn by the younger woman. The older woman leans her head against…
The road in the rye (1881). Sljedeći su The burning of Archpriest Avvakum (1897) i Autumn Morning (1893).
47 godina: The road in the rye datira iz 1881, a Grigorij Mjasojedov je rođen/a 1834.
The road in the rye, The burning of Archpriest Avvakum, Autumn Morning, Escape of Gregoriy Otrepyev from Inn on the Lithuanian Border ., Self-Portrait, Candlelight, Creek in the forest, Enbarkement in Yalta, Congratulation of betrothed in landlord's house i Opahivanie. Gornji rang prikazuje godinu i muzej za svako od njih.
Naš katalog sadrži 27 djela umjetnika Grigorij Mjasojedov, datiranih od 1861 do 1907.
Većinom u Tretyakovljeva galerija (Moskva), Yekaterinburg Museum of Fine Arts (Jekaterinburg) i Narodni muzej u Varšavi (Varšava). Gornja tablica muzeja navodi sve njih.
U 1880s: 6 od 27 djela na ovoj stranici nastalo je tada, od čega je The road in the rye The road in the rye.
Na ovoj stranici najstarije djelo je iz Congratulation of betrothed in landlord's house (1861), a najnovije iz In the salon of Zenaida Volkonskaya (1907).
Countryside (5), Men (5) i Portraits (5), kroz svih 27 djela na ovoj stranici.
Oil, za 4 od 27 djela na ovoj stranici.
Realism, sudeći po originalima na ovoj stranici.
The Zemstvo Dines i Reading of the 1861 Manifesto: Tretyakovljeva galerija, Moskva posjeduje 2 djela s ove stranice.
Grigorij Mjasojedov (1834–1911) predstavlja temeljnu figuru pokreta Peredvizhnici—kolektiva ruskih realista koji su zagovarčali umjetničku slobodu i nastojali prikazati svakodnevni život s nepokolebljivom iskrenošću. Rođen u Pankovu, u Rusiji, odgoj mu je uštruknuo poštovanje prema promatranju i detalju, osobinama koje će postati zaštitni znak njegovog prepoznatljivog stila. Otčevinino znanstveno zanimanje, a posebno rad „Statistički ekonomski pregled južnog dijela Tuljske gubernije”, potaknulo je snažno interesiranje za društvenu kritiku u umjetnosti, posijavši sjeme za karijeru posvećenu dokumentiranju socio-ekonomskih stvarnosti njegove domovine.
Njegovo rano umjetničko obrazovanje započelo je u Gimnaziji u Orjolu prije nego što je prešao u prestižnu Imperialnu akademiju umjetnosti u Sankt Petersburgu. Tamo je studirao pod utjecajnim mentorima kao što su Timofej Nef i Alexey Tarasovich Markov, gdje je njegov talent za narativno pripovijedanje počeo cvjetati. To razdoblje akademskog strogog truda kulminiralo je značajnim postignućem: zlatnim medaljom dodijeljenom za njegovo djelo „Bijeg Grigorija Otrepyeva iz gostionice”. To dramatično djelo, nadahnuto Puškinovim opernim libretom, pokazalo je ne samo njegovo majstorstvo u teatralnoj kompoziciji, već i sposobnost oživljavanja povijesnih i književnih legendi kroz prizmu dubokog realizma.
Prepoznajući transformativni potencijal putovanja, Mjasojedov je osigurao financiranje od akademije kako bi krenuo na opsežne ekspedicije Europom. Njegova putovanja kroz Pariz, Firenzu, Rim i Španjolsku omogućila su mu da uroni u velike europske umjetničke tradicije, usavršavajući svoje vještine promatranja i šireći svoj tehnički repertoar. Međutim, umjesto da prihvati idealizirane pejzaže koje je favorizirala akademska ustanova, Mjasojedov se vratio u Rusiju 1870. godine s obnovljenom misijom da uhvati autentičnog duha svog naroda.
Nakon povratka, brzo se pridružio „Udruženju putujućih umjetničkih izložbi”, poznatijem kao Peredvizhnici. Ta pripadnost duboko je oblikovala njegov umjetnički put, usmjeravajući ga prema fokusu na prikazivanje ruralnog života s empatijom i osjećajljivošću. Težio je odbaciti akademske konvencije u korist utemeljenijeg, istinititijeg prikaza ruskog krajolika i njegovih stanovnika. Njegov rad postao je promišljen čin društvene dokumentacije, udaljavajući se od veličanstvenosti prošlosti prema tišim, često teškim ritmovima chłopstva.
Od 1876. godine nadalje, Mjasojedov je boravio na farmi u blizini Harkova, razdoblje koje će definirati njegov najtrajniji doprinos ruskoj umjetnosti. Tijekom tih godina, pedantno je dokumentirao ritmove chłopskog postojanja, hvatajući ne samo vanjski izgled, već i emocionalne nijanse i psihološku dubinu svojih subjekata. Njegova platna odjekuju intimnim razumijevanjem ljudskog stanja, bilo kroz užurbane scene u luci poput „Isplovljavanja u Jalti” ili mračnije povijesne refleksije poput „Čitanja Manifesta iz 1861.”
Značaj Mjasojedovova rada leži u njegovoj sposobnosti da premosti jaz između visoke umjetnosti i proživljenog iskustva običnog čovjeka. Njegovo naslijeđe obilježeno je sljedećim elementima:
Kroz svoju posvećenost pokretu Peredvizhnici, Grigorij Mjasojedov osigurao je da glasovi ruralne Rusije budu čujni kroz medij slikarstva, ostavljajući za sobom duboki vizualni zapis transformativne ere u ruskoj povijesti.
