Nikolai Andreevich Andreev. Great sculptors

Days of free visits to the museum

Every Wednesday, admission to the permanent exhibition “Art of the 20th Century” and temporary exhibitions in (Krymsky Val, 10) is free for visitors without a tour (except for the exhibition “Ilya Repin” and the project “Avant-garde in three dimensions: Goncharova and Malevich”).

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Visitors to the above categories of citizens receive a “Free” entrance ticket.

Please note that the conditions for discounted admission to temporary exhibitions may vary. Check the exhibition pages for more information.

Nikolai Andreevich Andreev (1873-1932). The work of Nikolai Andreevich Andreev now constitutes a classic of Soviet art. Over the course of more than thirty years of creative activity, he made numerous sculptural portraits, monuments, and memorial plaques. He was also a master of drawing and created a series of portraits of prominent contemporaries. He left his mark both in theatrical art, designing a number of performances, and in applied art. But the central work of his life was the creation of Leniniana, which included about 120 sculptural and more than 200 graphic images. Andreev was born in Moscow. His father, a carpenter, in order to give his son an education, sent him in 1885 to the Central Stroganov School of Technical Drawing, from which he graduated in 1891. Then the future artist continued his studies at the Moscow School of Painting, Sculpture and Architecture (1892-1901). He was first a volunteer student in the painting department, then in the sculpture department, where he studied with S. M. Volnukhin. In Andreev’s creative development, a significant role was played by the influence of P. P. Trubetskoy, with whom the development of impressionism in Russian sculpture is associated. Perhaps the closest thing to impressionism that Andreev produced was a portrait of L.N. Tolstoy, executed from life in Yasnaya Polyana (1905). The movement of light and shadow plays a decisive role in creating an image, helping to reveal the special concentration and self-absorption of the great writer. In 1904-1908, Andreev painted portraits of many artists: P. D. Boborykin, L. N. Andreev, I. E. Repin, F. I. Chaliapin. In all these portraits the influence of impressionism is undeniable. Black-and-white modeling is combined here with a strong structural form. In the early 1900s, Andreev was passionate about ceramics and majolica, which was associated with his search to expand the decorative capabilities of sculpture. Andreev experiments with colored glazes, achieves new coloristic sounds, sometimes using color in portraits, which gives the image a peculiar sharpness. For example, the portrait of A.P. Lensky (1906) was made using white engobe; the color is also interesting in the portrait of L.N. Tolstoy (1908). The sculptor’s best majolica is “The Bacchae” (1911-1912) - a unique statement of the passionate, living nature of man. The sculptor turns to the image of the bacchante several times; the Art Nouveau style is obvious in these sculptures. Andreev’s passion for folk art was fruitful, which was reflected in the creation of a series of images of Mordovian girls and Tula peasant women (1910-1913). However, the best work of the artist’s pre-revolutionary period was not a sculpture of small forms, but a large monument, the creation of which required hard work - the monument to N.V. Gogol (1904-1908). In preparation for work on the monument, Andreev went to Ukraine to make sketches and collect material for bas-reliefs representing Gogol's characters from The Government Inspector, Evenings on a Farm near Dikanka, Mirgorod, Dead Souls and Petersburg Tales. . Andreev strove to plastically reveal the stylistic features of the writer’s early and late works, modeling the image of the romantic heroes of “Petersburg Tales” and the characters of “Evenings on a Farm near Dikanka” in completely different ways.

The sculptor depicted the writer himself sitting in heavy thought. This is Gogol from the last, tragic period of his life, who lost faith in the meaning of his work. It looks like a large bird with drooping wings. Only when you come very close to the monument, you can see the writer’s face, illuminated by a sad smile. The psychological expressiveness and internal drama of the image were perceived by contemporaries as the embodiment of the tragedy of a creative personality and were in tune with the atmosphere that arose in Russia after the 1905 revolution.

The monument to Gogol - a work of great talent - shows the humanistic nature of Andreev’s work and reveals its psychological orientation. Working on monumental works, the sculptor completed a monument-bust to Dr. F. P. Haas in Moscow (1909), projects for monuments to T. G. Shevchenko (1914) and the pioneer printer Ivan Fedorov (1902). After the October Revolution, Andreev was actively involved in the implementation of Lenin’s plan for monumental propaganda. For the first anniversary of the October Revolution, he created a monument to Danton, which was unveiled on Teatralnaya Square in Moscow. In the winter of 1918, the sculptor began hard work on the allegorical Statue of Liberty for the monument to the Soviet Constitution. In addition to this statue, he made a number of memorial plaques and reliefs during that period, distinguished by deep realism and rigor of formal design.

A full expression of realistic tendencies in monumental sculpture was the monument to A. N. Ostrovsky in Moscow, created by Andreev in 1928. After a two-time competition, where the sculptor invariably received the highest rating, in 1927 he began making a life-size monument. Ostrovsky is depicted sitting in an easy chair. He is dressed in a loose work robe, his head slightly bowed. The movement is calm, natural. The clear silhouette of the monument fits well into the niche of the wall of the Maly Theater in front of which it is installed. The monument to Ostrovsky is a smart decision by a mature master who perfectly thought out the task in all details. In the 1920s, Andreev also created monuments to A. I. Herzen* and N. P. Ogarev, a plaque with a portrait of V. G. Belinsky and other works. In the 30s, the artist did not stop working on monuments: he made designs for monuments to T. G. Shevchenko for Kharkov, A. I. Zhelyabov for Leningrad, two sketches of a monument to V. I. Chapaev for Samara, two projects for a monument to A. P. Chekhov for installation near the Moscow Art Theater building.

However, the main content of Andreev’s creativity in the post-revolutionary era was intense work on creating the image of V.I. Lenin. Started in 1919, it continued until the death of the master. Andreev was faced with the difficult and responsible task of creating a portrait of the leader who led the largest revolution in the history of mankind. In the process of work, Andreev carefully observed Lenin directly in his office and at meetings, created countless sketches, capturing the slightest gesture, noticing the characteristic facial expression. Based on these quick sketches, he later created his brilliant portrait drawings of V. I. Lenin using pencil, sanguine, and colored pencil techniques. In 1920, Andreev began creating portraits of Lenin in sculpture. The first experience in this regard was quite successful - the sculptor sculpted Lenin’s head from life from plasticine, capturing a very lively expression on his face. At the same time, one of the most popular sculptural images was created - “Lenin Writing”, where Andreev conveyed Vladimir Ilyich’s immersion in work, his detachment from his surroundings.

A completely different mood is expressed in a later work - “Lenin Listening to a Report” (1925). Lenin listens to the speech of the invisible speaker: his head is raised, his eyes are tense. The statue “Lenin the Orator” (1926) has a different, more dynamic solution. A distinctive feature of the image created here is intransigence towards opponents.

As a result of long work, by 1929 Andreev had completed three versions of the portrait, made on the instructions of the Council of People's Commissars: “Lenin Listening”, “Lenin Entering the Meeting”, “Lenin Presiding”. Andreev moved towards greater generalization, towards the versatility of the image. In 1929-1930, the sculptor worked on the theme “Lenin on the oratorical platform”. In this work he completely departs from the intimacy of the first portraits, approaching a monumental solution. And yet these works seem transitional in comparison with the last sculpture of 1931-1932 - “Lenin the Leader”, which completes Andreev’s “Leniniana”. Lenin stands on the podium, leaning on it with his right hand. His head is slightly raised in an energetic turn. There is strength, authority, energy in the facial expression. This is undoubtedly one of the most successful images of V.I. Lenin. Unfortunately, Andreev was not able to complete the entire sculpture. Based on the artist’s sketch, after his death it was completed by the sculptor V’s brother, A. Andreev, who had often previously helped him in monumental works. The sculpture “Lenin the Leader” is the crown of the master’s truly titanic work; she embodied a generalizing plastic image.

Literature:

Trifonova L.P. Andreev M., 1960

Materials from the article in the book were used: 1982. One Hundred Memorable Dates. Art calendar. Annual illustrated publication. M. 1981.

Nikolai Andreevich Andreev is a Russian sculptor and graphic artist. Nikolai Andreevich Andreev was born on October 26, 1873 in Moscow. He studied at the Moscow Stroganov School (1885-1891) and at the Moscow School of Painting and Painting (1892-1901) with S. M. Volnukhin. In his early works, he was first influenced by the art of the Itinerants ("The Reaper with a Child", plaster, 1899, Tretyakov Gallery and Kiev Museum of Russian Art), and then by impressionism (portrait of L. N. Tolstoy, bronze, 1905, Tretyakov Gallery). In the monument to N.V. Gogol in Moscow (bronze, granite, 1904-1909), Andreev created a deeply individual image of the writer, imbued with tragedy. In the first years of Soviet power, Andreev participated in the implementation of Lenin’s plan for monumental propaganda (monument to A. I. Herzen and N. P. Ogarev in Moscow - both cement with granite chips, 1918-1922); author of the monument to A. N. Ostrovsky in Moscow (bronze, granite, opened in 1929). Andreev’s main contribution to the history of Soviet art was a series of sculptural (about 100) and graphic (about 200) portraits of V. I. Lenin - “Leniniana” (1919-1932, Central Library, Tretyakov Gallery), recreating a living and multifaceted image of the leader, full of deep humanity . The series, which arose on the basis of numerous sketches from life, is characterized by the accuracy of realistic observations, clarity and laconicism of visual means. The main work of the series is the statue “Lenin the Leader”, filled with heroic determination (plaster, 1931-1932, Central Library; completed by V. A. Andreev). Since 1913, Andreev worked as a theater artist; in the 20s created a gallery of graphic portraits of party and government officials, writers, artists, etc. Andreev’s work played an important role in the development of the art of socialist realism. Nikolai Andreevich Andreev died on December 24, 1932.

Monument to N.V. Gogol in Moscow, 1904-1909

Monument to A. I. Herzen in Moscow, 1918-1922

Bacchante, 1911-1912

Obelisk in honor of the first Soviet Constitution in Moscow, 1918-1919

Andreev Nikolai Andreevich, sculptor and graphic artist

Andreev Nikolay Andreevich(1873-1932), Soviet sculptor and graphic artist. Honored Artist of the RSFSR (1931). He studied at the Moscow Stroganov School (1885-91) and at the MUZHVZ (1892-1901) with S. M. Volnukhin. In his early works, he was first influenced by the art of the Itinerants ("The Reaper with a Child", plaster, 1899, Tretyakov Gallery and Kiev Museum of Russian Art), and then by impressionism (portrait of L. N. Tolstoy, bronze, 1905, Tretyakov Gallery).
In the monument to N.V. Gogol in Moscow (bronze, granite, 1904-09), Andreev created a deeply individual image of the writer, imbued with tragedy. In the first years of Soviet power, Andreev participated in the implementation of Lenin’s plan for monumental propaganda (monument to A. I. Herzen and N. P. Ogarev in Moscow - both cement with granite chips, 1918-22); author of the monument to A. N. Ostrovsky in Moscow (bronze, granite, opened in 1929).
Andreev’s main contribution to the history of Soviet art was a series of sculptural (about 100) and graphic (about 200) portraits of V. I. Lenin - “Leniniana” (1919-32, Central Library, Tretyakov Gallery), recreating a living and multifaceted image of the leader, full of deep humanity . The series, which arose on the basis of numerous sketches from life, is characterized by the accuracy of realistic observations, clarity and laconicism of visual means. The main work of the series is the statue “Lenin the Leader”, filled with heroic determination (plaster, 1931-32, TsML; completed by V. A. Andreev). Since 1913 Andreev worked as a theater artist; in the 20s created a gallery of graphic portraits of party and government officials, writers, artists, etc. Andreev’s work played an important role in the development of the art of socialist realism.

Andreev was born in Moscow. His father, a carpenter, in order to give his son an education, sent him in 1885 to the Central Stroganov School of Technical Drawing, from which he graduated in 1891. Then the future artist continued his studies at the Moscow School of Painting, Sculpture and Architecture (1892-1901). He was first a volunteer student in the painting department, then in the sculpture department, where he studied with S. M. Volnukhin. In Andreev’s creative development, a significant role was played by the influence of P. P. Trubetskoy, with whom the development of impressionism in Russian sculpture is associated. Perhaps the closest thing to impressionism that Andreev produced was a portrait of L.N. Tolstoy, executed from life in Yasnaya Polyana (1905). The movement of light and shadow plays a decisive role in creating an image, helping to reveal the special concentration and self-absorption of the great writer. In 1904-1908, Andreev painted portraits of many artists: P. D. Boborykin, L. N. Andreev, I. E. Repin, F. I. Chaliapin. In all these portraits the influence of impressionism is undeniable. Black-and-white modeling is combined here with a strong structural form. In the early 1900s, Andreev was passionate about ceramics and majolica, which was associated with his search to expand the decorative possibilities of sculpture. Andreev experiments with colored glazes, achieves new coloristic sounds, sometimes using color in portraits, which gives the image a peculiar sharpness. For example, the portrait of A.P. Lensky (1906) was made using white engobe; the color is also interesting in the portrait of L.N. Tolstoy (1908). The sculptor’s best majolica is “The Bacchae” (1911-1912) - a unique statement of the passionate, living nature of man. The sculptor turns to the image of the bacchante several times; the Art Nouveau style is obvious in these sculptures. Andreev’s passion for folk art was fruitful, which was reflected in the creation of a series of images of Mordovian girls and Tula peasant women (1910-1913). However, the best work of the artist’s pre-revolutionary period was not a sculpture of small forms, but a large monument, the creation of which required hard work - the monument to N.V. Gogol (1904-1908). In preparation for work on the monument, Andreev went to Ukraine to make sketches and collect material for bas-reliefs representing Gogol's characters from The Government Inspector, Evenings on a Farm near Dikanka, Mirgorod, Dead Souls and Petersburg Tales. . Andreev strove to plastically reveal the stylistic features of the writer’s early and late works, modeling the image of the romantic heroes of “Petersburg Tales” and the characters of “Evenings on a Farm near Dikanka” in completely different ways.

However, the main content of Andreev’s creativity in the post-revolutionary era was intense work on creating the image of V.I. Lenin. Started in 1919, it continued until the death of the master. Andreev was faced with the difficult and responsible task of creating a portrait of the leader who led the largest revolution in the history of mankind. In the process of work, Andreev carefully observed Lenin directly in his office and at meetings, created countless sketches, capturing the slightest gesture, noticing the characteristic facial expression. Based on these quick sketches, he later created his brilliant portrait drawings of V. I. Lenin using pencil, sanguine, and colored pencil techniques. In 1920, Andreev began creating portraits of Lenin in sculpture. The first experiment in this regard was quite successful - the sculptor sculpted Lenin’s head from life from plasticine, capturing a very lively expression on his face. At the same time, one of the most popular sculptural images was created - “Lenin Writing”, where Andreev conveyed Vladimir Ilyich’s immersion in work, his detachment from his surroundings.