Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 108 del v našem katalogu avtorja Fjodor Aleksandrovič Vasiljev
Kratek opis
Med vsem originalom, ki ga je Fjodor Aleksandrovič Vasiljev pustil, je najbolj znan Summer Hot Day (1869). Takoj za njima sta River in Krasnoye Selo (1870) in Morning in a Village (1869). Naš katalog vsebuje 108 del umetnika Fjodor Aleksandrovič Vasiljev; galerija je ohranila 100 del, ki jih svet najbolj oboževa, odlikovanih z datumom nastanka, pripadajočim muzajem in zgodbojo.
The canvas presents a horizontal view of a rural landscape under a clear sky. A large tree occupies the center of the frame, its verticality anchoring the composition against the sloping ground and distant hills. A winding path begins in the foreground and recedes into the background, creating a sense of depth through atmospheric perspective. Near this path, a solitary figure sits, positioned slightly off-center. The scene is rendered with…
In this 1870 work, we find ourselves standing on the banks of a river near Krasnoye Selo. The scene is one of profound stillness, where the natural world and human presence exist in a delicate, unforced harmony. Two figures occupy the river bank, their presence adding a sense of scale and intimacy to the landscape. One individual holds an umbrella, a small but significant detail that suggests a moment of…
In this 1869 oil painting, a village scene unfolds through a realistic lens. The foreground is occupied by a woman positioned next to two horses. One horse stands to her left, while the second is situated further back in the composition. The woman's posture suggests she is tending to or leading the animals. Several animals populate the immediate environment, including three dogs located at the center, the right edge, and…
In this 1863 work titled Peasants Hut, the artist Fyodor Vasilyev turns his attention to the quietude of the Russian countryside. The piece focuses on a traditional barn, an element that functions as a symbol of agricultural heritage and the simplicity of rural life. It is a scene that captures a specific moment of stillness within a landscape that feels deeply rooted in the earth.
In "The Trunk of an Old Oak" by Fyodor Vasilyev, a massive oak trunk dominates the frame. The composition is vertically oriented, pulling the eye upward to emphasize the sheer height of the tree. Branches reach out and climb toward the top of the image, carving irregular shapes against the space. At the base of this wooden giant, a smaller figure appears, engaged in quiet activity near the roots. This…
In this work, titled After a Rain. Country Road, Fyodor Vasilyev presents a quiet moment of transition within the Russian countryside. Painted in 1869, the scene captures the immediate aftermath of rainfall, focusing on the subtle shifts in the landscape once the storm has passed. It is a study of a simple rural setting, where the dampness of the earth and the heavy atmosphere of the sky define the mood…
The painting Bank of the Volga after the Storm by Fyodor Vasilyev captures a specific moment of stillness. Created in 1871, the work presents a realistic depiction of a river landscape. The Volga River stretches toward a wide horizon, meeting a sandy shore under a heavy, overcast sky. It is a scene of quietude following a period of turbulence.
There is a profound stillness in this 1870 oil on canvas, a moment captured where the rhythm of labor meets the calm of the natural world. A peasant family occupies a small boat, drifting across a surface of water that reflects a soft, diffused light. A man rows with steady intent, while a woman and child sit within the vessel, their presence part of the landscape rather than an imposition…
In Horses at the Watering by Fyodor Vasilyev, the world is weighted toward the heavens. The composition is dominated by a vast sky where heavy clouds claim the majority of the frame. A low horizon line pushes the earth downward, granting the atmosphere an expansive, overwhelming presence. This arrangement forces the eye to look upward, past the immediate landscape and into the shifting light of the clouds.
On the Bank of the Volga is a landscape painted by Fyodor Vasilyev in 1870. The scene captures a quiet moment along the river's edge, where the water meets the shore in a soft, hazy light. It focuses on the intersection of natural beauty and the quiet rhythms of everyday life.
Evening1869
12
Dugout1870
13
After a Heavy Rain1870
14
At the River. Windy Day1869
15
Near Krasnoye Selo1868
16
Logs by the Road1869
17
Landscape. Pargolovo1868
18
Near a Watering Place1868
19
Before a Thunderstorm1868
20
Barges near the Bank1870
21
Peasants with a Boat on a Sandy Beach1868
22
After a Rain1869
23
Crimean Landscape1873
24
Abandoned Mill1873
25
Mountains of the Crimea in Autumn
26
Autumn1869
27
Barns1870
28
The Shore. Cloudy Day1869
29
On the Island Valaam1869
30
On the Neva1871
31
The Barn1868
32
Cumulus1871
33
On the River. Calm1867
34
Winter1871
35
At the Sink1871
36
The Evening before the Storm1869
37
Rye1870
38
Trees. Study1870
39
Birch Grove in the Evening1869
40
In the Vicinity of St. Petersburg1868
41
Peasant's Courtyard1869
42
Evening1871
43
Dawn in St. Petersburg1870
44
Village1869
45
Landscape with a Rock and Stream1867
46
Road through a Birchwood1869
47
Bridge over a Brook1870
48
On Valaam. Rocks1867
49
Clouds. The Village of Krestinskoye1867
50
Near a Church. Valaam1867
51
Forest Road1869
52
Hot Summer Day1869
53
Before a Thunderstorm1869
54
Volga Lagoon1870
55
The Crowns of the Trees1867
56
After a Rain (Spring in St. Petersburg)1867
57
The Sea with Ships1873
58
Surf Waves1873
59
Self-Portrait1873
60
Morning1873
61
Dawn1873
62
Abandoned Mill 21873
63
On the Beach1873
64
Mountains in the Clouds1873
65
Crimea. Yalta1873
66
Landscape. Crimea1873
67
Pine Grove in the Swamp1873
68
Mountains in the Crimea in Winter1873
69
Evening in the Crimea1873
70
Autumn Forest1873
71
Wet Meadow1872
72
Wet Meadow 1. Study1872
73
In the Mountain of the Crimea. Brook1873
74
In the Crimea. After a Rain1873
75
Abandoned Mill 11873
76
Eriklik the Fountain (Crimea)1872
77
Swamp in a Forest. Mist1873
78
Sailboats. Study
79
Landscape with Clouds
80
Clouds over Hills. Study
81
Early Morning
82
The ThawDržavni ruski muzej
83
SunsetNacionalna galerija v Jeravanu
84
Clouds
85
Apiary
86
Peasant's House
87
Village
88
Lombardy Poplars on the Bank of a Lake. Evening
89
Tide
90
Rapid Stream
91
Brook in a Forest
92
Bay
93
Oaks
94
Water Mill on a Mountain River. Crimea
95
Cypresses in the Crimea
96
In an Oak Grove
97
Trees
98
Tide near the Shore of the Crimea
99
In the Mountains of the Crimea1873 · Tretyakovska galerija
100
Wet Meadow1872 · Tretyakovska galerija
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
3 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Fjodor Aleksandrovič Vasiljev | Slike iz tega seznama |
|---|---|---|---|
 Tretyakovska galerija |
Moskva | 8 | In the Mountains of the Crimea, Wet Meadow |
 Državni ruski muzej |
St. Peterburg | 3 | The Thaw |
 Nacionalna galerija v Jeravanu |
Jerevan | 1 | Sunset |
V obdobju necelo desetletja, od 1863 do 1873, je ta izdelek temโลกu ponudil vsako datirano originalno delo umetnika Fjodor Aleksandrovič Vasiljev v tej izbiri: tukaj je, leto za letom.
Izberite leto in oglej originale.
In this 1863 work titled Peasants Hut, the artist Fyodor Vasilyev turns his attention to the quietude of the Russian countryside. The piece focuses on a traditional barn, an element that functions as a symbol of agricultural heritage and the simplicity of rural life. It is a scene that captures a specific moment of stillness within a landscape that feels deeply rooted in the earth.
Near Krasnoye Selo is a landscape painting by Fyodor Vasilyev. Created in 1868, the work presents a serene Russian landscape. The scene focuses on a tranquil river winding through a grassy bank under a cloudy sky.
Več od 1868
The canvas presents a horizontal view of a rural landscape under a clear sky. A large tree occupies the center of the frame, its verticality anchoring the composition against the sloping ground and distant hills. A winding path begins in the foreground and recedes into the background, creating a sense of depth through atmospheric perspective. Near this path, a solitary figure sits, positioned slightly off-center. The scene is rendered with…
Več od 1869
In this 1870 work, we find ourselves standing on the banks of a river near Krasnoye Selo. The scene is one of profound stillness, where the natural world and human presence exist in a delicate, unforced harmony. Two figures occupy the river bank, their presence adding a sense of scale and intimacy to the landscape. One individual holds an umbrella, a small but significant detail that suggests a moment of…
Več od 1870
The painting Bank of the Volga after the Storm by Fyodor Vasilyev captures a specific moment of stillness. Created in 1871, the work presents a realistic depiction of a river landscape. The Volga River stretches toward a wide horizon, meeting a sandy shore under a heavy, overcast sky. It is a scene of quietude following a period of turbulence.
Več od 1871
The scene unfolds in the quietude of a rural Crimean landscape, a place where the earth meets the sky in a soft, hazy embrace. In this work, titled Crimean Landscape, the artist Fyodor Vasilyev captures a moment of profound stillness. A small cottage rests beside a winding stream, its humble presence nestled against the backdrop of distant, mist-shrouded mountains. The air feels heavy with the dampness of the morning or…
Več od 1873
Summer Hot Day (1869). Zatem sledeta River in Krasnoye Selo (1870) in Morning in a Village (1869).
19 let: delo Summer Hot Day iz leta 1869, Fjodor Aleksandrovič Vasiljev pa je bil/a rojen/a leta 1850.
Summer Hot Day, River in Krasnoye Selo, Morning in a Village, Peasants Hut, The Trunk of an Old Oak, After a Rain. Country Road, Bank of the Volga after the Storm, Peasant Family in a Boat, Horses at the Watering in On the Bank of the Volga. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 108 del avtorja Fjodor Aleksandrovič Vasiljev, datiranih od 1863 do 1873.
Večini v Tretyakovska galerija (Moskva), Državni ruski muzej (St. Peterburg) in Nacionalna galerija v Jeravanu (Jerevan). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1873: 21 od 100 del na tej strani je bilo izdelovanih takrat, med njimi pa Crimean Landscape.
Na tej strani je najstarejše delo iz Peasants Hut (1863) in najstarejše iz Crimean Landscape (1873).
Forests (22), Sky (18) in Russian landscape (13), na 100 delih na tej strani.
Oil On Canvas, za 19 od 100 del na tej strani.
Realism, glede na originala na tej strani.
In the Mountains of the Crimea in Wet Meadow: v muzeju Tretyakovska galerija, Moskva se nahaja 2 del z te strani.
Fjodor Aleksandrovič Vasiljev (1850-1873) je izjemno pomemben, a tragično prekratek lik v razvoju ruske krajinske slike. Njegova kratek čas trajajoča kariera, ki je obsegala le dve desetletji, je ustvarila opus del, ki je globoko vplival na generacijo umetnikov in ga uveljavil kot pionirja liričnega krajinskega sloga – gibanja, za katerega so značilna atmosferska globina, čustvena resonanca in intimni prikaz ruske podeželije in krimskih gora. Rojeni v Gatchini blizu Sankt Peterburga, je bilo Vasiljevo življenje zaznamovano s težavami in zgodnjo odgovornostjo, izkušnjami, ki so nedvomno oblikovale njegov umetniški vid.
Njegovo poreklo je bilo skromno; rodil se je nizko postavljenemu vladnemu uradniku Aleksandru Vasiljeviču Vasiljevu in Olgi Emeljanovi Polyntsevi. Poroka staršev se je zgodila štiri leta po njegovem rojstvu, zaradi česar je bil od samega začetka obravnavan kot nezakonski otrok. Ta zgodnja okoliščina mu je vcepila občutek samozadostnosti in odpornosti, ki se je pozneje manifestiral v njegovi umetnosti. Že pri dvanajstih letih si je moral zaslužiti za preživetje z različnimi fizičnimi deli – kot poštar, pisar in pomočnik pri restavriranju slik – kar je bil oster kontrast privilegiranim umetniškim krogom, v katere se je kasneje vključil.
Vasiljevo formalno umetniško izobraževanje se je začelo leta 1863, ko se je vpisal na večerne tečaje Šole za slikarstvo pri Društvu za spodbujanje umetnikov. Ta institucija mu je zagotovila osnovno razumevanje tehnike in zgodovine umetnosti, a so ga njegovi stiki z uveljavljenimi slikarji resnično zanetili njegov ustvarjalni duh. Pomembno je omeniti prijateljstvo z Ivanom Šiškinom, enim najbolj priznanih ruskih krajinskih slikarjev, ki je prepoznal Vasiljevo izjemno nadarjenost in prevzel vlogo mentorja. Vpliv Šiškina je očitno razviden v zgodnjih delih Vasiljeva, zlasti tistih, ustvarjenih med njihovim skupnim obdobjem na otoku Valaam leta 1867. Ta izkušnja ga je izpostavila veličastnosti in duhovni globini ruske divjine.
Šiškinovo mentorstvo se ni omejevalo le na tehnične lekcije; predstavil je Vasiljeva vplivnemu omrežju oseb znotraj peterburške umetniške scene, vključno z Ivanom Kramskoim, Iljo Repinom, Pavlom Tretyakovom in Pavlom Stroganovom – pokrovitelji, ki so kasneje podprli njegovo delo. Te povezave so bile neprecenljive, saj mu je omogočile dostop do razstav, naročil in kritičnega priznanja. Vendar Vasiljev vzpon ni bil brez izzivov. Njegov talent je pritegnil pozornost Šiškinovih rivalov, kar je vodilo v obdobje intenzivne konkurence in obtožb umetniške manipulacije znotraj umetniške skupnosti.
Vasiljeve zgodnje slike kažejo jasen dolg šolski krajinski slikarski šoli Barbizon. Umetniki, povezani s tem gibanjem – kot sta Théodore Rousseau in Jean-François Millet – so dajali prednost zajemanju bistva narave, pogosto pa so upodabljali prizore podeželskega življenja z osredotočenjem na atmosferske učinke in subtilne barvne variacije. Vasiljev je sprva prevzel številne njihove tehnike, uporabljal ohlapno črtanje in dajal prednost razpoloženju pred natančnimi podrobnostmi. Kmalu pa je presegel zgolj posnemanje in razvil svoj prepoznaven slog, ki je združil vplive Barbizona z edinstveno rusko občutljivostjo.
Za razliko od francoskih slikarjev Barbizona, ki so pogosto iskali predstavitev idealiziranih krajin, je bilo Vasiljevo delo globoko zakoreninjeno v resničnosti ruske podeželije in krimskih gora. Zajel ni le vizualni videz teh lokacij, ampak tudi njihovo čustveno resonanco – tiho samoto gozdne poti, melanholično lepoto deževnega polja, dramatično veličastnost vrhov gora. Njegove slike so prežete z občutkom nostalgije in hrepenenja, ki odraža njegove osebne izkušnje in duh ruskega naroda.
Ključna dela iz tega obdobja, kot sta Po nevihti (1868) in Blizu napajalnika (1868), prikazujejo Vasiljevo sposobnost priklicati atmosfero z barvo in svetlobo. Uporaba pridušenih tonov, subtilnih gradacij sence in dinamičnega črtanja ustvari občutek globine in gibanja, ki gledalca potegne v prizor. Bil je še posebej sposoben zajeti učinke vremena – dežja, megle in rose – ter spremeniti običajne krajine v kraljestva eterične lepote.
Vasiljevo umetniško potovanje je bilo prepleteno z več pomembnimi sodelovanji in interakcijami znotraj živahne peterburške umetniške scene. Njegova povezava z Ivanom Šiškinom se je izkazala za še posebej oblikovalno, saj mu je zagotovila neprecenljivo vodstvo in izpostavljenost. Vendar se je Vasiljev vključil tudi v produktiven delovni odnos z Iljo Repinom med njihovo ekspedicijo po reki Volgi leta 1870, kar je pripeljalo do sugestivne slike Pogled na Volgo. Barges*. Ta izkušnja mu je razširila umetniški obzorje in ga izpostavila novim predmetom in tehnikam.
Poleg tega je Vasiljev postal član Peredvižnikov (Potujočih), skupine realistov, ki so si prizadevali prikazati življenje in težave navadnih Rusov. Čeprav se je sprva okleval v celoti sprejeti politično agendo tega gibanja, je prepoznal njegovo vrednost kot platformo za promocijo svojega dela in interakcijo s širšo publiko. Njegovo članstvo v Peredvižnikih ga je spoznal z drugimi pomembnimi umetniki, kot so Repin, Kramskoi in Viktor Mazurin.
Kljub svojemu razcvetajočemu uspehu je bilo Vasiljevo življenje tragično prekinjeno v starosti 23 let. Diagnoza tuberkuloze ga je pripeljala do iskanja zatočišča v krimskih gorah, kjer je upal na olajšanje bolezni. Vendar se je njegovo zdravje še naprej slabšalo in oktobra 1873 je podlegel bolezni v Jalti.
Njegova prezgodnja smrt je pustila praznino v ruskem umetniškem svetu, a Vasiljeva zapuščina vztraja skozi njegov izjemen opus del. Njegove slike so slavne po svoji atmosferski globini, čustveni resonanci in intimnem prikazu ruske krajine. Šteje se za enega pionirjev liričnega krajinskega sloga in njegov vpliv je mogoče videti v delih poznejših generacij ruskih umetnikov, vključno z Isaacom Levitanom in
