Ažurirano: новембар 2026 · rangirano prema našem koeficijentu popularnosti (pretrage, posete i porudžbine za svako delo) · 27 dela Grigorij Mjasojedov u našem katalogu
Ukratko
Iz perspektive galerije, najpoznatije delo umetnika Grigorij Mjasojedov je The road in the rye (1881). The burning of Archpriest Avvakum (1897) i Autumn Morning (1893) čine triju koju svako oko prepoznaje. Od 27 dela umetnika Grigorij Mjasojedov u našem katalogu, galerija u nastavku predstavlja 27 najpoznatijih dela, od kojih je svako originalno, sa 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 droughtNacionalni 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 · Државни руски музеј
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 sa svojim vrhunskim primerom.
4 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Grigorij Mjasojedov | Slike iz ovog spiska |
|---|---|---|---|
 Tretyakovljeva galerija |
Moskva | 2 | The Zemstvo Dines, Reading of the 1861 Manifesto |
 Yekaterinburg Museum of Fine Arts |
Jekaterinburg | 1 | Candlelight |
 Nacionalni muzej u Varšavi |
Varšava | 1 | Prayer in time of drought |
 Државни руски музеј |
St. Petersburg | 1 | Time of harvesting (Mowers) |
Izaberite deceniju da biste videli original koji je definiše.
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). Slede 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 pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 27 dela umetnika Grigorij Mjasojedov, datiranih od 1861 do 1907.
Većinom u Tretyakovljeva galerija (Moskva), Yekaterinburg Museum of Fine Arts (Jekaterinburg) i Nacionalni muzej u Varšavi (Varšava). Tabela muzeja iznad sadrži njih sve.
U 1880s: 6 od 27 dela na ovoj stranici nastalo je tada, od čega je The road in the rye.
Na ovoj stranici, najstarije delo 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 dela na ovoj stranici.
Oil, za 4 od 27 dela na ovoj stranici.
Realism, sudeći po originalima na ovoj stranici.
The Zemstvo Dines i Reading of the 1861 Manifesto: Tretyakovljeva galerija, Moskva čuva 2 dela sa ove stranice.
Grigorij Grigorievič Mjasojedov (1834–1911) predstavlja stub pokreta Peredžavnikovi—kolektiva ruskih realista koji su zagovarčali umetničku slobodu i nastojali da prikažu svakodnevni život sa nepokolebljivom iskrenošću. Rođen u Pankovu, u Rusiji, njegovo odrastanje u njemu je potkresalo poštovanje prema posmatranju i detalju, osobinama koje će postati zaštitni znak njegovog prepoznatljivog stila. Naučna rada njegovog oca, naročito „Statistički ekonomski pregled južnog dela Tuljske gubernije“, podstakao je duboko interesovanje za društveni komentar u umetnosti, posejavši seme za karijeru posvećenu dokumentovanju socio-ekonomskih realnosti njegove domovine.
Njegov rani umetnički razvoj počeo je u Gimnaziji u Orjolu pre nego što je prešao u prestižnu Imperijalnu akademiju umetnosti u Sankt Peterburgu. Tamo je studirao pod uticajnim mentorima kao što su Timofej Nef i Aleksej Tarasovič Markov, gde je njegov talenat za narativno pripovedanje počeo da cveta. Ovaj period akademskog rigoroziteta kulminirao je značajnim postignućem: zlatnim medaljom dodeljenom za njegovo delo „Beg Grigorija Otrepjeva iz krčme“. Ovo dramatično delo, inspirisano Puškinovim operskim libretom, pokazalo je ne samo njegovo majstorstvo u teatralnoj kompoziciji, već i sposobnost da oživi istorijske i književne legende kroz prizmu dubokog realizma.
Prepoznajući transformativni potencijal putovanja, Mjasojedov je obezbedio sredstva od akademije kako bi zaputovao na ekstenzivne ekspedicije širom Evrope. Njegova putovanja kroz Pariz, Firencu, Rim i Španiju omogućila su mu da se uroni u velike evropske umetničke tradicije, usavršavajući svoje veštine posmatranja i šireći svoj tehnički repertoar. Međutim, umesto da usvoji idealizovane pejzaže koje je favorisala akademska ustanova, Mjasojedov se vratio u Rusiju 1870. godine sa obnovljenom misijom da uhvati autentičnog duha svog naroda.
Po povratku, brzo se pridružio „Udruženju putujućih umetničkih izložbi“, poznatijem kao Peredžavnici. Ova pripadnost je duboko oblikovala njegov umetnički put, usmeravajući ga ka portretisanju ruralnog života sa empatijom i osetljivošću. Težio je da odbaci akademske konvencije u korist utemeljenijeg, istinitijeg prikaza ruskog pejzaža i njegovih stanovnika. Njegov rad je postao svesni čin društvene dokumentacije, udaljavajući se od grandioznosti prošlosti ka tišim, često teškim ritmovima seljaka.
Od 1876. godine nadalje, Mjasojedov je boravio na farmi u blizini Harkova, što je period koji će definisati njegov najtrajniji doprinos ruskoj umetnosti. Tokom ovih godina, on je pedantno dokumentovao ritmove seljačkog postojanja, hvatajući ne samo spoljašnji izgled, već i emocionalne nijanse i psihološku dubinu svojih subjekata. Njegova platna odjekuju intimnim razumevanjem čovečanstva, bilo kroz užurbane scene u luci kao što je „Isklaz u Jalti” ili kroz mračnije istorijske refleksije kao što je „Čitanje Manifesta iz 1861.”
Značaj Mjasojedovovog rada leži u njegovoj sposobnosti da premosti jaz između visoke umetnosti i proživljenog iskustva običnog čoveka. Njegovo nasleđe karakterišu:
Kroz svoju posvećenost pokretu Peredžavnikovi, Grigorij Mjasojedov je osigurao da glasovi ruralne Rusije budu čujni kroz medij slikarstva, ostavljajući za sobom duboki vizuelni zapis transformativne ere u ruskoj istoriji.
