განახლდა ნოემბერი 2026 · დალაგებულია ჩვენი პოპულარობის ქულების მიხედვით (ძიება, ნახვა და შეკვეთები თითოეული ნამუშწაროსთვის) · 27 ნამუშევარი გრიგორი მიასოედოვი ჩვენს კატალოგში
მოკლედ რომ ვთქვათ
გალერეის თვალს, გრიგორი მიასოედოვი-ის ყველაზე ცნობილი ნამუშწაროა The road in the rye (1881). The burning of Archpriest Avvakum (1897) და Autumn Morning (1893) ქმნიან იმ ტრიოს, რომელიც ყველამ იცნობს. ჩვენს კატალოგში არსებული გრიგორი მიასოედოვი-ის 27 ნამუშწაროდან, გალერეა ქვემოთ წარმოგიდგენთ 27 ყველაზე ცნობილ მათგანს; თითოეული მათგანი არის ორიგინალი, რომლის აღწერა მოიცავს შემოქმედების წელს, მუზეუმს და იმ დეტალებს, რაც მას უნიკალურს ხდის.
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 scene unfolds in the harbor of Yalta, captured in the oil on canvas work titled Enbarkement in Yalta. Created about 1890, this painting brings the lively atmosphere of a coastal town to life. The Russian artist Grigoriy Myasoyedov presents a bustling maritime setting where the rhythms of trade and leisure meet at the water's edge. Boats sit docked in the harbor, while figures gather near the waterfront, each seemingly…
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 droughtვარშავის ეროვნული მუზეუმი
21
Portrait of old woman
22
Spaniard
23
Grandfather of the Russian Fleet1871
24
The Zemstvo Dines1872 · ტრესტიაკოვის სახელმწიფო გალერეა
25
Time of harvesting (Mowers)1887 · სახელმწიფო რუსეთის მუზეუმი
26
Portrait of chess player A. D. Petrova
27
Reading of the 1861 Manifesto1873 · ტრესტიაკოვის სახელმწიფო გალერეა
ამ ორიგინალებში ყველაზე ხშირად განმეორებადი არის 네 თემა, რომელთაგან თითოეულს თავისი საუკეთესო ნიმუში წარმოგვიდგება.
ამ გვერდზე წარმოდგენილი მხატვრობის შედეგების უმეტესობას 4 მუზეუმი ინახავს.
| მუზეუმი | ქალაქი | გრიგორი მიასოედოვი შემოქმედებაలు | ამ სიიდან მოპოვებული ნახატები |
|---|---|---|---|
 ტრესტიაკოვის სახელმწიფო გალერეა |
მოსკოვი | 2 | The Zemstvo Dines, Reading of the 1861 Manifesto |
 ეკატერინბურგის fine arts-ის მუზეუმი |
ეკატერინბურგი | 1 | Candlelight |
 ვარშავის ეროვნული მუზეუმი |
ვარშავა | 1 | Prayer in time of drought |
 სახელმწიფო რუსეთის მუზეუმი |
სან-პეტერბურგი | 1 | Time of harvesting (Mowers) |
შეარჩიეთ ათწლეული, რათა ნახოთ ის ორიგინალი ნამუშევარი, რომელიც მას განსაზღვრავს.
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). შემდეგ მოდიან The burning of Archpriest Avvakum (1897) და Autumn Morning (1893).
47 წლის: The road in the rye შექმნილია 1881 წელს, ხოლო გრიგორი მიასოედოვი დაიბადა 1834 წელს.
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 და Opahivanie. ზემოთ მოცემული რეიტინგი ასახავს თითოეულის შემოქმედების წელსა და მუზეუმს.
ჩვენს კატალოგში წარმოდგენილია 27 ნამუშწევრი გრიგორი მიასოედოვი-ისგან, დათარიღებული 1861-დან 1907-მდე.
ძირითადად ტრესტიაკოვის სახელმწიფო გალერეა (მოსკოვი), ეკატერინბურგის fine arts-ის მუზეუმი (ეკატერინბურგი) და ვარშავის ეროვნული მუზეუმი (ვარშავა)-ში. ზემოთ მოცემულ მუზეუმების ცხრილში ისინი ყველა listed.
1880s-ში: ამ გვერდზე წარმოდგენილი 27 ნამუშწარwerksიდან 6 შეიქმნა მაშინ, მათგან The road in the rye.
ამ გვერდზე ყველაზე ადრეული არის Congratulation of betrothed in landlord's house (1861), ხოლო ყველაზე გვიანდელი — In the salon of Zenaida Volkonskaya (1907).
Countryside (5), Men (5) და Portraits (5), ამ გვერდზე წარმოდგენილ 27 ნამუშწარეს შორის.
Oil, ამ გვერდზე არსებული 27 ნამუშწაროსგან 4 ცალიდან.
Realism, ამ გვერდზე წარმოდგენილი ორიგინალების მიხედვით.
The Zemstvo Dines და Reading of the 1861 Manifesto: ტრესტიაკოვის სახელმწიფო გალერეა, მოსკოვი-ში წარმოდგენილია ამ გვერდზე მოცემული ნამუშევრების 2 ცალი.
Grigoriy Grigorievich Myasoyedov (1834-1911) stands as a cornerstone figure within the Peredvizhniki movement—a collective of Russian realist painters who championed artistic freedom and sought to depict everyday life with unflinching honesty. Born in Pankovo, Russia, his upbringing instilled in him an appreciation for observation and detail, qualities that would become hallmarks of his distinctive style. His father’s scholarly pursuits, notably the “Statistical Economic Review of the Southern Part of Tula Guberniya,” fostered a keen interest in social commentary within art, planting the seeds for a career dedicated to documenting the socio-economic realities of his homeland.
His early artistic training commenced at the Oryol Gymnasium before he transitioned to the prestigious Imperial Academy of Arts in St. Petersburg. There, he studied under influential mentors such as Timofey Nef and Alexey Tarasovich Markov, where his talent for narrative storytelling began to flourish. This period of academic rigor culminated in a significant achievement: a gold medal awarded for his work “The Flight of Grigory Otrepyev from the Inn.” This dramatic piece, inspired by Pushkin’s opera libretto, demonstrated not only his mastery of theatrical composition but also his ability to breathe life into historical and literary legends through a lens of profound realism.
Recognizing the transformative potential of travel, Myasoyedov secured funding from the academy to embark on extensive expeditions across Europe. His journeys through Paris, Florence, Rome, and Spain allowed him to immerse himself in the great European artistic traditions, honing his observational skills and expanding his technical repertoire. However, rather than adopting the idealized landscapes favored by the academic establishment, Myasodedov returned to Russia in 1870 with a renewed mission to capture the authentic spirit of his people.
Upon his return, he swiftly joined the “Association of Travelling Art Exhibitions,” better known as the Peredvizhniki. This affiliation profoundly shaped his artistic trajectory, propelling him toward a focus on portraying rural life with empathy and sensitivity. He sought to reject academic conventions in favor of a more grounded, truthful depiction of the Russian landscape and its inhabitants. His work became a deliberate act of social documentation, moving away from the grandiosity of the past toward the quiet, often difficult, rhythms of the peasantry.
From 1876 onwards, Myasoyedov resided on a farm near Kharkov, a period that would define his most enduring contributions to Russian art. During these years, he meticulously documented the rhythms of peasant existence, capturing not just outward appearances but also the emotional nuances and psychological depth of his subjects. His canvases resonate with an intimate understanding of the human condition, whether through bustling harbor scenes like “Enbarkement in Yalta” or more somber historical reflections such as “Reading of the 1861 Manifesto.”
The significance of Myasoyedov’s work lies in his ability to bridge the gap between high art and the lived experience of the common person. His legacy is characterized by:
Through his dedication to the Peredvizhniki movement, Grigoriy Myasoyedov ensured that the voices of rural Russia were heard through the medium of paint, leaving behind a profound visual record of a transformative era in Russian history.
