Ge paintings with titles. Creative success and public recognition

(1831-1894)

Nikolai Nikolaevich Ge, a famous Russian painter, master of portraits, historical and religious paintings, was born on February 27, 1831 in Voronezh, in the family of a landowner. The artist's grandfather was a French emigrant who came to Russia in late XVIII century. Nikolai spent his childhood in the village, and in 1841 he was brought to Kyiv, where he entered the First Kyiv Gymnasium. After graduating from high school, Ge entered the Faculty of Physics and Mathematics of Kyiv University, and a year later transferred to St. Petersburg University. In 1850 he abandoned science and entered the Academy of Arts, where he studied in the workshop of P. Basin. Ge graduated from the Academy with a large gold medal for his work “Saul at the Witch of Endor” in 1857 and was sent abroad. During six years of travel, he visited Germany, Switzerland, France, and Italy. Ge paints portraits, and also tries to take on historical themes, making sketches (“The Death of Virginia” (1857), “The Love of a Vestal Virgin” (1858), “The Destruction of the Temple of Jerusalem” (1858)). But Ge does not like his work, and he makes a trip to Naples, where he again begins to write many sketches from life. In 1860 he moved to Florence. Nikolai Nikolaevich returned to St. Petersburg in 1863 and presented his painting “The Last Supper” at the exhibition. The work made a deep impression on the public, and the artist was awarded the title of professor of historical and portrait painting, bypassing the title of academician. At the beginning of 1864 Ge returned to Florence, where he began to write sketches on gospel stories(“Christ and Mary, sister of Lazarus”, “Brothers of the Savior”, etc.), and also takes on a new big picture"Messengers of the Resurrection". At this time, he met and became close to Herzen and painted his portrait in 1867. In 1867 Nikolai Nikolaevich finished his painting “Messengers of the Resurrection” and sent it to an exhibition Academy of Arts, but they don’t accept it there. His new work, “Christ in the Garden of Gethsemane,” is also not successful. In 1870 Ge returned to St. Petersburg. There he began to paint pictures based on subjects from Russian history. At the first exhibition of the Itinerants in 1871, he exhibited his painting “Peter I interrogating Tsarevich Alexei in Peterhof,” which turned out to be quite successful. In 1875 Ge left St. Petersburg forever and went to Ukraine, where he bought a small farm. He abandons art for a while and becomes interested in issues of religion and morality. In 1882 Ge met L.N. Tolstoy in Moscow, and in 1884 he painted his portrait. Then followed new row paintings on religious subjects - “Exit from the Last Supper” (1889), “What is truth?” (1890), Judas (Conscience) (1891), Sanhedrin (1892) and The Crucifixion. At the same time, he painted portraits of his contemporaries, as well as a self-portrait. Ge makes illustrations for L.N. Tolstoy’s story “How People Live” and sculpts a bust of the writer. The fate of his last works was very dramatic: he destroyed the painting “Mercy” (1880); the work “Exit from the Last Supper” (1889) was criticized by church censorship; painting "What is truth?" Christ and Pilate" (1890) was removed from the exhibition for blasphemy in the depiction of Christ; He destroyed the first version of “The Crucifixion” (1892), and at the beginning of 1894 another version of “The Crucifixion” was banned for display by Emperor Alexander III, and Ge showed it only in his apartment, etc. Ge died on his farm on June 13, 1894.

Nikolai Nikolaevich Ge (February 15 (27), 1831, Voronezh, - June 1 (13), 1894, Ivanovsky farm, Chernigov province) - Russian painter and draftsman, master of portraits, historical and religious paintings. Occasionally he also performed sculptural work.

Biography of Nikolai Ge

Nikolai Ge was born in Voronezh, in the family of landowner Nikolai Ge. The artist’s grandfather emigrated from France to Russia at the end of the 18th century and in French his surname was written Gay.

In 1831, when Nikolai was born, in the central provinces Russian Empire Cholera was raging. The future artist’s mother died of cholera three months after the birth of her son. At the insistence of the father, the nanny, a serf woman, took care of raising the newborn.

Nikolai's early childhood was spent in the village, and in 1841 he was brought to Kyiv, where he entered the First Kyiv Gymnasium, where teachers had already noticed Nikolai's ability to draw and paint, and the future of the artist was predicted for the young man. However, after graduating from high school, Nikolai, on the advice of his father, entered the Faculty of Physics and Mathematics of Kyiv University.

An older brother lived in St. Petersburg, with whom Nikolai moved, who dreamed, against his father’s will, of studying at the capital’s Imperial Academy of Arts. The young man did not dare to enter the Academy, and continued his studies at the Faculty of Mathematics of St. Petersburg University. While studying at the university in 1848 - 1849, Nikolai persistently studied drawing within the walls of the Hermitage.

In 1850, Ge left the university and entered the Academy of Arts, where he studied under the guidance of academician, professor of painting, famous St. Petersburg artist Pyotr Basin.

Ge's creativity

Even at a young age, amazed by the work of Karl Bryullov, Nikolai carefully studied and copied the style and painting techniques of his favorite artist, which left a certain imprint on his own painting style. Nikolai Ge spent seven years at the Academy.

For his work “Achilles mourns Patroclus” he received the Small Gold Medal of the Academy in 1855.

The work “Saul at the Witch of Endor” in 1857 already brought him a Big Gold Medal, which gave him the right to travel abroad at the expense of the Academy. Nikolai Ge “literally fled from Tsarist Russia"to Europe.

Upon arrival from Italy, he immediately became involved in the artistic, social and spiritual life of the capital, becoming one of the organizers and leaders of the Association of Mobile Travelers, created in 1870. art exhibitions(TPHV).

In search of a topic, Ge turns to national history. The painting “Peter I interrogates Tsarevich Alexei Petrovich in Peterhof” (1871) again brought him success: its subject was again real conflict real people, each of which has its own truth.

Nevertheless, at the turn of the 1870s and 1880s, Ge returned to art. From now on, gospel themes prevailed in his work. He made an exception only for portraits, which he painted quite often and sold for very low price- so that they are accessible to anyone, even the poor.

Ge's painting has undergone dramatic changes. He abandoned not only the canons of academicism, but also the desire for historical specificity, which so impressed his audience.

Ge worked painfully: he created option after option, rarely brought them to completion, and was never satisfied with what he had done. And the very fate of his paintings was dramatic.

He destroyed the painting “Mercy” (1880). The painting “Exit from the Last Supper” (1889) became one of best works Russian painting of that time, the exciting and anxious mood was so strongly expressed in it. But this work was criticized by church censorship.

Painting "What is truth?" Christ and Pilate" (1890) was removed from the exhibition for blasphemy in the depiction of Christ. The painting “The Court of the Sanhedrin. “Guilty of Death!” (1892) was not allowed to the academic exhibition by the President of the Academy of Arts. Ge did not finish the painting “Calvary” (1892), and the public saw it only after the artist’s death. He destroyed the first version of The Crucifixion (1892). Another version of “The Crucifixion” was banned for display by Emperor Alexander III at the beginning of 1894, and Ge showed it only in his apartment.

In March of the same year, the artist died on his farm.

Artist's works

"The Last Supper" (1863).

“Messengers of the Resurrection” (1867).

“Peter I interrogates Tsarevich Alexei Petrovich in Peterhof” (1871).

“What is truth?” Christ and Pilate (1890).

"Conscience. Judas" (1891).

"Portrait of A.P. Ge with children" (1861 - 1866).

“Portrait of E.I. Ge with his son Nikolai" (1885 - 1886).

"Crucifixion" (1892).

Biography Nikolai Ge, artist was born in 1831 into a nobleman’s family in the city of Voronezh. His grandfather emigrated from France at the end of the 18th century during the Great french revolution. Yours early childhood Nicholas spent time in the village, and in 1841 he moved to Kyiv, where he was educated at the First Kyiv Gymnasium. After graduating from high school,

In 1850, Ge entered the Kiev University in the physics and mathematics department, but being disillusioned with the exact sciences, he left this institution and went to study at the Academy of Arts in St. Petersburg, where he learned the truths of painting, studying for no less than seven years with P Basina.

Nikolai Ge felt the greatest attraction to the work of the painter K.P. Bryullov, which was accordingly reflected in Ge’s early paintings, namely in the work of Saul at the Sorceress of Endor, which in 1857 brought him a large gold medal and a business trip abroad. The dramatic plot of this picture, the facial expressions of the characters and other features are reminiscent of Bryulov’s accent with his romantic style and style of writing. During these years, the artist Ge developed another direction of creativity, which manifested itself in portraits. They had a strict approach to the subject; in 1850, Portrait of the Father; by 1855, Portrait of Merkulov and others were completed.

In the next creative period of his life in 1857, Ge created sketches of the Death of Virginia in 1858, completing the paintings Love of the Vestals and the Destruction of the Temple of Jerusalem. After these works, Nikolai left historical topics and painted a lot from life, traveling by train to Naples, where he painted many different sketches. In 1860, he moved to Florence, where he tried to write the sketch “The Death of Lambertation,” which he soon abandoned.

In 1861, Nikolai began to write " last supper, and in 1863 he brought it to St. Petersburg for an exhibition at the Academy of Arts. The audience admired

painting. For "The Last Supper" Ge, having skipped the title of academician, receives the title of professor. At the beginning of 1864, he returned back to Florence and wrote sketches on gospel themes ("Brothers of the Savior", "Christ and Mary, sister of Lazarus", etc.), and also began a large painting "Messengers of the Resurrection", which he completed in 1867 and sends it to the Academy of Arts for an exhibition, but the painting is not accepted. In the same year he painted a portrait of Herzen, whom he met in Florence. This painting is considered the best he painted; Nikolai Ge continues to work from life. "Messengers of the Resurrection" does not have any success even after the artist's friends exhibit it at the art club. The writing of a new work, “Christ in the Garden of Gethsemane,” also ends in failure.

In 1869 Ge returned to Russia and joined the community of Peredvizhniki artists, where in 1871 he exhibited his works famous painting Interrogation of Peter the First Tsarevich Alexei in Peterhof, which was accordingly noticed by the Russian community; Pavel Tretyakov liked the work, who highly appreciated the content historical work and those who bought it.

In the 1870s, Ge the artist was going through a difficult creative period and for three years he did not create a single work. In 1876-1879 he settled on a farm near Chernigov, where he would actually live for many years. A serious revolution has taken place in his soul: he gravitates towards religion and morality. In his notes he writes that one should live rural labor, declaring that art cannot be traded.

In 1882 Ge in Moscow met famous writer Tolstoy Lev Nikolaevich, and in 1884 he painted his portrait. In 1880 to 1890, philosophy, morality and psychological shades of life, expressed in the plots of the Gospel, became significant postulates of Ge's work. This is especially noticeable in the works created in 1889, Christ and Nicodemus.

In 1890, the painting What is Truth?, in 1893, Calvary was painted, the work remained unfinished. Continuing work on religious themes Ge writes the work Exit from the Last Supper, the paintings Judas and the Crucifixion were painted by the artist in several variations. At the same time, he painted portraits of Kostychev, Likhacheva, N.I. Petrunkevich, self-portrait, makes illustrations for the story by L.N. Tolstoy's "How People Live" and also sculpts a bust of the writer.

There is a heated debate in many newspapers latest paintings Ge. The painting "What is truth?" was removed from the exhibition, and its subsequent transportation to Europe and America did not bring success. The “Judgment of the Sanhedrin” met the same fate, and in 1894, “The Crucifixion”; it was removed from the exhibition and shown in a private apartment, then it was transported to London. Ge found himself in his paintings. Ge died in his farm on June 13, 1894. Main feature and Ge’s merit was that he was the first to understand and grasp the new realistic direction in the composition of biblical themes.

Biography of Nikolai Ge

Ge Nikolai Nikolaevich. Years of life: 1831 - 1894

Historical painter, portrait painter, landscape painter. Born in Voronezh into a noble family. He studied at the Faculty of Mathematics of Kyiv University, then St. Petersburg University. In 1850, without completing a university course, he entered the Academy of Arts, where his greatest interest was aroused by the legacy of K.P. Bryullov. The influence of the latter is very noticeable in early works Ge, in particular in competitive program for the Great Gold Medal The Sorceress of Endor summons the shadow of Samuel Saul from the Sorceress of Endor, 1856, Russian Museum). The dramatic plot (the shadow of the prophet Samuel predicts Saul's death in the upcoming campaign), the dynamics of the characters' gestures and facial expressions, the special sound of the color purple and other features make us remember the author of the Last Day of Pompeii with his romantic pathos. In the 1850s, another trend in the artist’s work developed, manifested in portraits. They were dominated by a realistically restrained, focused approach to the model, the absence of external, distracting moments in the interpretation of images ("Portrait of a Father", 1854, KMRI; "Portrait of Y.P. Merkulov", 1855, State Russian Museum, etc.). Having received highest award Academy, Ge and his wife visited Germany, Switzerland, France and settled in Italy (1857). Here he worked on stories from history Ancient Rome("The Death of Virginia", sketches, 1857-1858, - Tretyakov Gallery, State Russian Museum, KMRI; "The Love of a Vestal", sketches - Tretyakov Gallery, KMRI). Then, not without the influence of A.A. Ivanov, he turned to the gospel legends to express their ideas about good and evil, about moral problems humanity. Among these works is “The Last Supper” (1863, State Russian Museum, reduced repetition 1866 - Tretyakov Gallery). The contrast between Christ and Judas, human tragedy, anticipating the betrayal of the student, but ready for self-sacrifice, form the basis dramatic conflict. It is comprehended by the artist not in a canonical, religious, but in a moral and psychological sense. The film was a huge success in Russia. Advanced criticism gave it primary attention and noted the deep interpretation of the traditional plot, understood by contemporaries in connection with social problems of his era. The most in-depth analysis of the picture was given by M.E. Saltykov-Shchedrin. It is significant that the reactionary camp saw unacceptable “materialism” in the work; the painting was forbidden to reproduce. After demonstrating it in St. Petersburg, Ge returned to Florence. Here he repeatedly met with A.I. Herzen, who had great value in the spiritual life of the artist. The portrait of Herzen (1867, Tretyakov Gallery, repeat 1878 - KMRI) - one of the best in Ge's work - was secretly brought by the artist to Russia. In Italy, portraits were also created of I. Domange (1868, Tretyakov Gallery), M.A. Bakunin (Great Tretyakov Gallery), “Portrait of an Unknown Woman in a Blue Blouse” (1868, Tretyakov Gallery), etc. During these years, Ge also painted many landscapes. Upon his return to Russia (1869), the artist was among the organizers of the Association of Traveling Art Exhibitions. He became close to leading cultural figures, portraited many of them (portraits: I. S. Turgenev, 1871, Picture gallery Armenia; M.E.Saltykova-Shchedrin, 1872, Russian Museum; N.A. Nekrasova, 1872, ibid., repetition - Hermitage, etc.). At the first traveling exhibition (1871), Ge’s painting “Peter I interrogating Tsarevich Alexei Petrovich in Peterhof”, which was then acquired by P.M. Tretyakov, attracted attention (it was repeated several times by the artist). The content of the picture, its simplicity artistic solution constituted a new word in the development of realistic historical painting. In the 1870s Ge experienced creative crisis and for about three years he almost did not pick up a brush (1876-1879). At this time, he settled on a farm in the Chernigov province, where most of his subsequent life was spent. Since 1882, Ge became close to Leo Tolstoy and became a follower of his religious and moral teachings. Moral-philosophical and psychological problems, expressed in the images and plots of the Gospel, occupied leading place in Ge's works of the 1880-1890s. Among the most profound in content and innovative in form are the paintings “Christ and Nicodemus” (circa 1889, Tretyakov Gallery), “What is Truth?” (“Christ and Pilate”, 1890, Tretyakov Gallery; repetition in Odessa art museum), "Calvary" (1893, unfinished, Tretyakov Gallery). IN last decade Throughout his life, the artist did not stop working on portraits; in particular, he repeatedly turned to the image of Leo Tolstoy. The review was published in the journal Sovremennik, 1863, No. 11. As part of the extensive literature on the life and work of N.N. Ge, it is necessary to highlight the research and publications of N. Yu. Zograf, in particular: N. N. Ge. Exhibition of works. Catalog. The author will enter, the articles and compiler N.Yu. Zograf. M., 1969; N.N.Ge. Letters, articles, criticism, memoirs of contemporaries. Enter, article, comp. and note. N.Yu. Zograf. M., 1978.

Russian artist with French roots Nikolai Ge filled his entire life with preaching spiritual beauty. His latest works unusually excited, imbued with emotionality, sincerity and spirituality. On the day of his death, we invite you to remember 7 great paintings by the painter.

"The Judgment of King Solomon" (1854)

He could have become a mathematician, but his passionate desire to create turned out to be stronger. After two years of studying at the mathematics department of the Faculty of Philosophy of St. Petersburg University, Nikolai Ge entered the St. Petersburg Academy of Arts in 1850. The training period took place during the last dark years of the reign of Nicholas I. Students were credited with strictly following the canons of classicism and its main themes: mythological stories And ancient heroes. Young Ge decides that if he follows, then follow the best. In those years, for many at the Academy, Karl Bryullov was a role model, and Nikolai, who admired the author of Pompeii, was no exception.
“The Judgment of King Solomon” is a work that is written in an absolutely Bryullov style: bright and colorful. Famous biblical story about the provocative decision of King Solomon to cut a child in two, which caused a quarrel between two women, each of whom claimed that she was the mother of the child. The canvas is written in accordance with academic canons - a classic composition, characteristic “speaking” gestures and expressive poses.

"The Last Supper" (1866)

After graduating from the Academy, Nikolai Ge, trying to free himself “from the stuffiness” of a country frozen in anticipation and without waiting for the issuance of financial subsidies for an internship, leaves with his young wife for Italy. The result of attempts to create a reporting, software canvas is the creation large quantity sketches, but none of the plans come to life. In a happy family life Several years fly by, and there is still nothing to report to the Academy. Ge reads a lot, works and does not stop for a single day in searching for ideas for his first great painting. And then one day the theme itself finds the artist.
In the process of studying the life of Christ, Ge clearly faces one of the key gospel events. All that remains is to transfer it to the picture. The artist has been looking for a long time among friends and acquaintances for those who would have an inner or external resemblance with the disciples of Christ. As a result, he writes the Apostle Peter from himself, and as a starting point for writing central character becomes Herzen. The revelation picture shocked the viewer with its truth and realism. Yes, that's exactly what happened! A cramped and twilight room, through the rags on the window you can see how the blue of the night sky is fading, a low table on three legs, behind which the characters are placed - all this is shockingly convincing. In the foreground is the dark silhouette of Judas, nervously throwing on his cloak as he walks. Young John jumped up impulsively, Peter looked after the traitor in bewilderment, the rest of the apostles were shocked. And only Jesus froze in a detached and mournful pose - he knows what will happen: inevitable betrayal Judas, Peter's denial, painful death.
The picture was accepted by the public, and Ge at such a young age became a professor at the Academy of Arts - this was an unprecedented case. However, the church thought differently: the interpretation of the plot was considered non-canonical, and there was “unacceptable materialism” on the canvas. As a result, the painting was prohibited from being reproduced.

"Heralds of the Resurrection" (1867)

No one in Russia understood or recognized the artist’s new work, “Messengers of the Resurrection.” They refused to accept her for an exhibition at the Academy of Arts. Exhibited at the art club of friends, the painting was also not successful. The same fate befell the first version of the painting “Christ in the Garden of Gethsemane.” Both in St. Petersburg and at the Munich exhibition of 1869, where the artist sent her along with “Messengers of the Resurrection,” her images were considered far-fetched and speculative. They made it clear to Ge that he did not live up to the expectations placed on him. Only years later will the public grow to understand the plot, but in the days when Ge returned from sunny Italy in gray Petersburg was already in need of support, the public remained indifferent.

“Christ and His Disciples Enter the Garden of Gethsemane” (1889)

After a series of paintings on historical topic, upset by the lack of understanding of his work and harsh criticism, the master, having lost faith in his talent, left St. Petersburg in 1875 and settled in the Chernigov province. He radically changes his life: he builds an unusual workshop with a system of mirrors, masters the stove business and begins to lay stoves, and occasionally paints portraits of his neighbors to earn money. Acquaintance with Leo Tolstoy in 1862 becomes fateful for Ge: he understands that he is not alone in the search for an ideal, he clearly sees that creativity can serve life itself. The artist returns to work at a qualitatively new level.
While in St. Petersburg they almost forgot about Nikolai Ge, his painting “Christ with his disciples enters the Garden of Gethsemane” appears at one of the traveling exhibitions. The work undoubtedly deserves the right to rank with the best paintings: exciting and alarming mood, extraordinary beauty of color, plot. The apostles solemnly descend the steps into the darkness, and only Jesus stops for a moment to raise his eyes to the infinitely beautiful starry sky. The picture was again subjected to harsh criticism by the church.

"Christ in the Garden of Gethsemane" (1869-1880)

Ge turns with renewed vigor to gospel themes– his paintings now sound like passionate sermons. He rewrites “The Garden of Gethsemane” and shows the viewer Christ already ready for the great sacrifice. He leaves all doubts in the Garden of Gethsemane and without fear goes to the end to meet his destiny. The artist’s paintings began to appear regularly in St. Petersburg: they were removed from exhibitions and subjected to merciless censorship and persecution. But, exhibited in private apartments, the master’s works attracted crowds of spectators. Banned paintings were talked about, discussed in newspapers and exported abroad. The master was pleased: “I will shake all their brains with the suffering of Christ... I will make them weep, and not be moved.” Ge becomes an apostle of the new art. He talks to young artists about a form that can convey feeling. He himself writes as he teaches: without nature, without a sketch, without an outline.

“What is truth? Christ and Pilate" (1890)

The construction of the canvas can overturn the traditional understanding of good and evil, light and shadow. Pilate stands in a powerful stream sunlight, while Christ seems, on the contrary, to be immersed in darkness. But if you take a closer look at the canvas, you can see that the procurator is standing against the sun and his face is immersed in darkness. The dark folds of the toga entangle Pilate’s body like ropes. The face of Christ, tormented by torture, on the contrary, is illuminated, his clothes, when looked closely, are colored in purple colors, and a divine radiance appears around the entire figure. Two personalities, two worldviews were shown by the master in an unconventional and bold way. It is clear that the church did not accept this view. She was shocked by the image of Christ, which absolutely did not correspond to the centuries-old tradition of depicting the Savior as a spiritually perfect and outwardly beautiful person. Tretyakov initially refused to buy the painting, but after an angry but reasoned letter from Tolstoy, in which he scolded the patron of the arts for “collecting dung” and “refusing to take the pearl,” Tretyakov changed his mind and purchased the painting.

"Calvary" (1893)

Ge's "Calvary" remained unfinished. The public saw it after the master’s death. The innovative form of the work using the favorite technique of contrasting characters is filled with the deepest moral sense. The Son of God is sent to a shameful death. From the left, a hand enters the field of view, which with an imperative gesture gives the signal for the start of the execution. Jesus knows what he must go through. He frantically wrings his hands and raises his eyes to the sky, to the Father. IN Passion cycle Ge also writes two versions of the “Crucifixion”, when looking at which a depressing impression is created.
“What is truth?” and “Calvary” produce the effect of a bomb exploding. The indignant clergy and public turn to the tsar and he orders the paintings to be removed from the exhibition. “Can this ragamuffin and tramp be Christ? Is this how you can apply paint? This Ge has completely forgotten how to write!”
Nikolai Ge died on June 13, 1894. Until the end of his days, he was confident that art could help a person to see the light and improve this world a little.