Posodobljeno november 2026 · uvrščeno glede na naš skoraj priljubljenosti (iskanja, obiske in naročila za vsako delo) · 27 del v našem katalogu avtorja Grigorij Mjasojedov
Kratek opis
Izpostavljeno v galeriji je najbolj znano sliko umetnika Grigorij Mjasojedov, ki je The road in the rye (1881). The burning of Archpriest Avvakum (1897) in Autumn Morning (1893) dopolnjujeta trijo, ki jo prepozna vsak pogled. Od 27 del avtorja Grigorij Mjasojedov v našem katalogu galerija spodaj predstavlja 27 najbolj znanih; vsako je original z letom nastanka, pripadajočim mu muzejem in opisom tistega, kar ga dela edinstavnim.
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 v Varšavi
21
Portrait of old woman
22
Spaniard
23
Grandfather of the Russian Fleet1871
24
The Zemstvo Dines1872 · Tretyakovska galerija
25
Time of harvesting (Mowers)1887 · Državni ruski muzej
26
Portrait of chess player A. D. Petrova
27
Reading of the 1861 Manifesto1873 · Tretyakovska galerija
Četiri teme, ki se v teh originalih najpogosteje ponavljajo, vsaka z svojim vrhunskim primerom.
4 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Grigorij Mjasojedov | Slike iz tega seznama |
|---|---|---|---|
 Tretyakovska galerija |
Moskva | 2 | The Zemstvo Dines, Reading of the 1861 Manifesto |
 Yekaterinburg Museum of Fine Arts |
Jekaterinburg | 1 | Candlelight |
 Narodni muzej v Varšavi |
Varšava | 1 | Prayer in time of drought |
 Državni ruski muzej |
St. Peterburg | 1 | Time of harvesting (Mowers) |
Izberite desetletje, da si ogledate original, ki ga opredeljuje.
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). Zatem sledeta The burning of Archpriest Avvakum (1897) in Autumn Morning (1893).
47 let: delo The road in the rye iz leta 1881, Grigorij Mjasojedov pa je bil/a rojen/a leta 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 in Opahivanie. Zgornja lestica prikazuje leto nastanka in muzej za vsako delo.
Naš katalog vsebuje 27 del avtorja Grigorij Mjasojedov, datiranih od 1861 do 1907.
Večini v Tretyakovska galerija (Moskva), Yekaterinburg Museum of Fine Arts (Jekaterinburg) in Narodni muzej v Varšavi (Varšava). Zgoraj navedena tabela muzejev vsebuje njihov celoten seznam.
V obdobju 1880s: 6 od 27 del na tej strani je bilo izdelovanih takrat, med njimi pa The road in the rye.
Na tej strani je najstarejše delo iz Congratulation of betrothed in landlord's house (1861) in najstarejše iz In the salon of Zenaida Volkonskaya (1907).
Countryside (5), Men (5) in Portraits (5), na 27 delih na tej strani.
Oil, za 4 od 27 del na tej strani.
Realism, glede na originala na tej strani.
The Zemstvo Dines in Reading of the 1861 Manifesto: v muzeju Tretyakovska galerija, Moskva se nahaja 2 del z te strani.
Grigorij Mjasojedov (1834–1911) predstavlja ključno figuro v gibanju Peredvizhniki—skupini ruskih realističnih slikarjev, ki so zagovarjali umetniško svobodo in si želeli z neomovnim poštenjem prikazati vsakdanjišček. Rodjen v Pankovu na Rusiji, je svojo odraščanje vplinilo na njegovo občutljivost za opazovanje in podrobnosti, lastnosti, ki so postale značilnost njegovega prepoznavnega sloga. Njegovo očetovo znanstveno delo, predvsem “Statistični ekonomski pregled južnega dela gubernije Tula,” je v njemu vzbudilo močan interes za družbeno kritiko v umetnosti, kar je posejalo seme za kariero, posvečeno dokumentiranju socio-ekonomskih realnosti njegove domovine.
Svoje zgodnje umetniško izobraževanje je začel na Gimnaziji v Oriolu, preden je prešel na prestižno Imperialno akademijo likovnih arts v Sankt Peterburgu. Tam je študiral pod vplivnimi mentorji, kot sta Timofej Nef in Alexey Tarasovich Markov, kjer se je začelo razvijati njegov talent za narativno pripovedovanje. Ta obdobje akademske discipline se je končalo s pomembnim dosežkom: zlatim medaljom za delo “Beg Grigorija Otrepyeva iz gostilne.” Ta dramatično delo, navdihovano z Puškinovim opernim libretom, je pokazalo ne le njegovo mojstvo teatralne kompozicije, temveč tudi njegovo sposobnost, da skozi prizmo globokega realizma vdihne življenje zgodovinskim in literarnim legendam.
Z prepoznavanjem transformativnega potenciala potovanja je Mjasojedov pridobil sredstva akademije za obsežne ekspedicije po Evropi. Njegova potovanja skozi Pariz, Florence, Rim in Španijo so mu omogočila, da se je potopil v velike evropske umetnostne tradicije, izpilil svoje opazovalne veščine in razširil svoj tehnični repertoar. Vendar pa, namesto da bi sprejel idealizirane pokrajine, ki so bile vlihni akademskemu establishmentu, se je Mjasojedov leta 1870 vrnil v Rusijo z obnovljenim poslanstvom, da zajame avtentični duh svojega naroda.
Ob svojemtihpristopu se je hitro pridružil “Združenju potujočih umetnostnih izložb,” bolj znanemu kot Peredvizhniki. Ta pripadnost je globoko oblikovala njegovo umetniško pot, ki ga je usmerila v prikaz kmetijskega življenja z empatijo in občutljivostjo. Želel je zavrniti akademske konvencije v korist bolj utemeljenega, resničnega prikaza ruske pokrajine in njenih prebivalcev. Njegovo del je postalo nameren akt družbene dokumentacije, ki se je oddal od veličastja preteklosti proti tihi, pogosto težki ritmi ali kmetijskega življenja.
Od leta 1876 naprej je Mjasojedov prebival na kmetiji v bližini Harjova, obdobje, ki bo definiralo njegov najbolj trajen prispevek k ruski umetnosti. V teh letih je skrbno dokumentiral ritme kmetekske eksistence, kjer je zajemal ne le zunanji videz, temveč tudi čustvene niance in psihološko globino svojih subjektov. Njegova platna resonirajo z intimitnim razumevanjem človeške kondicije, bodisi skozi zburljive scene v pristanišču, kot je “Embarkacija v Jalti”, ali skozi bolj sogobne zgodovinske refleksije, kot je “Branje 1861 manifesta.”
Pomen Mjasojedovovega dela leži v njegovi sposobnosti, da premosti razpored med visoko umetnostjo in življenjsko izkušnjo vsakdanjega človeka. Njegovo dediščino prepoje:
S svojo predanostjo gibanju Peredvizhniki je Grigorij Mjasojedov zagotovil, da so glasovi ruske kmetije odmevali skozi barve, ter pustil globok vizualni zapis transformativne ere v ruski zgodovini.
