Pavel korin paintings. Pavel Dmitrievich Korin (1892-1967)
Pavel Dmitrievich Korin(June 25 (July 8) 1892, Palekh, Vyaznikovsky district, Vladimir province - November 22, 1967, Moscow) - Russian and Soviet painter, monumentalist, portrait master, teacher, professor.
Academician of the USSR Academy of Arts (1958; Corresponding Member (1954). People's Artist of the USSR (1962). Winner of the Lenin (1963) and Stalin Prizes of the second degree (1952).
Biography
Born in Palekh in a family of hereditary icon painters. Brother Alexander Korin is also an artist.
After leaving school at the age of 16, he was accepted as a student into the icon-painting chamber of the Donskoy Monastery, whose leader Klavdiy Stepanov, noticing the young man's talent, told him: "Study, dear, you will be Raphael."
Mikhail Nesterov, having recognized Pavel Korin from his work in a publishing house, for which he copied Nesterov's works, invited him to help paint the churches; Many years later, in a letter dated July 26, 1935, Corinne wrote to his teacher: "You threw your flame into my soul, you are the culprit that I became an artist."
In 1912-1916 Korin studied at the School of Painting, Sculpture and Architecture.
In the 1920s (until 1933), together with his brother, he worked in a workshop located in the attic of house No. 23 on Arbat. Here he was visited by Maxim Gorky, who took part in the fate of Pavel Korin: he procured a trip to Italy for him from the Soviet government.
In 1933 he moved to a workshop on Malaya Pirogovskaya Street (house number 16), where he lived and worked until the end of his life and where the House-Museum of PD Korin is now located. In 1942, he led a team of restorers restoring the ceiling and foyer of the Bolshoi Theater, which had suffered from the bombing.
After the war, Corinne supervised the restoration of the Dresden Gallery's canvases. He headed the restoration workshop of the Pushkin Museum. In the Vladimir Cathedral of Kiev, he restored the frescoes and personally restored the paintings of Viktor Vasnetsov and Mikhail Nesterov.
In 1958 he was awarded the title of People's Artist of the RSFSR; he was elected a full member of the USSR Academy of Arts. In 1962 he was awarded the title of People's Artist of the USSR.
In 1963, Pavel Korin was awarded the Lenin Prize for portraits of Martiros Saryan, Ruben Simonov, Kukryniksy, Renato Guttuso. In the same year, a personal exhibition of the artist took place on the occasion of the 70th birthday and 45th anniversary of his creative activity.
In 1966, he signed a letter to 25 cultural and scientific workers addressed to Leonid Brezhnev, General Secretary of the CPSU Central Committee, against the rehabilitation of Stalin.
Creation
The central but never completed painting by Pavel Korin, whose idea arose in 1925 - during the funeral of Patriarch Tikhon in the Donskoy Monastery, is Requiem (Leaving Russia); 29 preparatory portraits were made for her, but the canvas intended for the painting remained untouched.
The most famous works: the triptych "Alexander Nevsky", portraits of Georgy Zhukov and Maxim Gorky. Thematic paintings and portraits performed by the master are characterized by spirituality and composure of images, rigor of composition and drawing.
Among the artist's monumental works are mosaic plafonds at the Komsomolskaya station of the circular metro line, stained-glass windows at Novoslobodskaya station, mosaics at Smolenskaya and Paveletskaya stations.
Korin's extensive collection of icons is one of the most famous and best studied in Russia.
Awards and honorary titles
- 1952 - Stalin Prize, second degree.
- 1954 - was elected a corresponding member of the Academy of Arts of the USSR.
- 1958 - People's Artist of the RSFSR; elected a full member of the Academy of Arts of the USSR.
- 1962 - People's Artist of the USSR.
- 1963 - Lenin Prize.
- 1967 - Order of Lenin.
- Medals.
Memory
- In 1968, the House-Museum of P. D. Korin was opened in Moscow (address: Moscow, Malaya Pirogovskaya str., 16, wing 2), now a branch of the State Tretyakov Gallery.
- In 1974, the House-Museum of the artist's family was opened in Palekh, Ivanovo region.
- Corinne's works on postage stamps
Fragment of the triptych "Alexander Nevsky" (1942) on the stamp of the USSR
Postage stamp of the USSR, 1973: portrait of S. T. Konenkov
Family
Wife - Praskovya Tikhonovna, nee Petrova (1900-1992). She was brought by a girl to Moscow, to the Martha-Mariinsky Convent to study the craft of a sister of mercy. She wanted to learn how to draw, and Grand Duchess Elizabeth Feodorovna turned to Pavel Korin, who in 1916 was carrying out her order to paint the tomb of an underground church on the territory of the monastery, to take a student. Three years later, in 1919, Pavel Dmitrievich proposed to the girl, but only seven years later, in 1926, he received consent, and they were married in a church on the Arbat.
A native of Palekh, Pavel Dmitrievich Korin did not become an icon painter, like his grandfather and father. But the family leaven was always tangible in his work. And it was he who created an almost icon-painting image of the persecuted Church - “Russia leaving”.
One of the prominent dynasties of Palekh icon painters is Korina. Parishioners in several generations, they lived under his canopy, and found their last refuge at the Palekh cemetery, near.
On June 25 (old style), 1892, son Pavel was born into the family of hereditary icon painter Dmitry Nikolaevich Korin. By virtue of his family activity, the setting of the icon-painting workshop was familiar to him from childhood. He himself had to become an icon painter - like his father and grandfather. Even early orphanhood - his father died in 1897 - did not prevent Pavel from mastering the family profession. In 1903-1907 he studied at the newly founded icon-painting school under the direction of Evgeny Ippolitovich Styagov, a graduate of the Academy of Arts, and graduated with the title of master icon painter (here, in the Palekh school, he unlearned, coming two years later, and Pavel's younger brother Alexander).
Becoming
After graduating from school, sixteen-year-old Pavel Korin went to Moscow, hoping to continue his studies. He had an example to follow in his close relationship: Alexei Mikhailovich Korin, his cousin (albeit a very senior), successfully graduated from the Moscow School of Painting, Sculpture and Architecture and became a "real" artist.
In Moscow, Korin entered the icon-painting workshop, but he had nothing to study here, and he “nailed” to the icon-painting chamber of the Donskoy Monastery. Soon, perhaps the most important event in Korin's life took place - he met Mikhail Vasilyevich Nesterov. Working with him (in particular, on the murals of the Intercession Church of the Martha-Mariinsky Convent, where five years later the young Palestinian will paint the crypt on his own), he studied the techniques of monumental painting, and the craving for monumentalism remained in him for the rest of his life.
Korin learned a lot from Nesterov in relation to portrait art, many portraits by his brush have a nesterov “aftertaste”, although, of course, he overcame the direct influence of the teacher Korin, possessing a great and original talent. Under the influence of Nesterov, he got acquainted with works of art, both ancient and new. In particular, it was enriched by, by his own admission, visits to the Tretyakov Gallery.
The restorer S. S. Churakov (he served as a model for a young layman depicted on the right side of "Departing Russia"), who had studied with Korin already in the 1920s, recalled that he "promoted Ivanov in every possible way, saying that he is equal to Raphael." , and cited the following story in connection with this: “In those years there was an exhibition of Apollinarius Vasnetsov. All of Ivanov's sketches were removed, and the works of A. Vasnetsov were hung up. Korin was indignant, cursed and forbade all his students to go to this exhibition, thus expressing a protest against Apollinarius Vasnetsov. "
Let's go back, however, to the pre-revolutionary period.
Although the apprenticeship with such a master as Nesterov was worth a whole university, Korin nevertheless entered the Moscow School of Painting, Sculpture and Architecture in 1912. Here his mentors were K. A. Korovin, A. O. Pasternak, S. V. Malyutin. And for the summer holidays, he went to Palekh.
In 1916, Korin graduated from college and at the same time visited Yaroslavl and Rostov to study local frescoes - at the request of Grand Duchess Elizabeth Feodorovna, who invited him to work on the paintings of the crypt in the Martha-Mariinsky Convent.
Master
In February 1917, Pavel Dmitrievich moved to a workshop on the Arbat, in the attic of house 24, where he lived until 1934. Now he himself is not a student, but a teacher. Invited to teach at the Moscow School of Painting, Sculpture and Architecture, he combined teaching and restoration work, and in addition, worked part-time in the hungry years of war communism in the anatomical theater (this work went to him as an artist).
Pavel Dmitrievich also brought his wife Praskovya Tikhonovna (from the pupils of the Martha-Mariinsky Convent) to the Arbat workshop, with whom he married in 1926. And here, under the Arbat roof, the idea of "big" gradually matured in him, as the artist himself marked in his notebook, pictures. At first it was a concept under the working title "Bless the Lord, my soul." Perhaps, for its execution, he copied Ivanov's sketches for "The Appearance of Christ" and sketched in the anti-religious museum of the relics of St. Joasaph Belgorodsky. And since 1925, the idea has crystallized. Requiem became the work of life.
In 1931, the artist's studio was visited by Maxim Gorky, who since then assumed the role of "guardian" of Korin's creative searches. With the help of Gorky, Korin managed to equip a workshop in a separate house on Malaya Pirogovskaya (now there is a museum dedicated to him) and to visit Europe with his brother, where he enthusiastically studied the legacy of the old masters.
Pavel Dmitrievich was not favored by the authorities, although against the gloomy background of the 1930-1940s his life looks quite prosperous: in 1931-1959 he headed the restoration workshop of the State Museum of Fine Arts named after A.S. Pushkin, in 1939-1943 he was working on In the late 1940s and early 1950s, he taught at the V.I.Surikov Art Institute with a series of portraits of cultural figures commissioned by the Committee for Arts.
However, the master received real official recognition only in the first half of the 1950s, when his sketches were used to create mosaics of the Moscow metro station "Komsomolskaya" (ring) and stained glass windows of the "Novosloboskaya" station. For a panel for "Komsomolskaya" Korin received the State Prize in 1954, and a few years later - the title of People's Artist of the RSFSR.
Korin lived out his last years quietly - in a workshop on Pirogovka, with his faithful companion Praskovya Tikhonovna and an old airedale. From time to time he visited Palekh, without changing anything in his parents' house (Korin was already thinking about creating a “family” museum then). Pavel Dmitrievich died on November 22, 1967 and was buried in the neighboring Novodevichy cemetery.
Sasha Mitrahovic 30.10.2017 07:40
In the photo: “Requiem. Departing Russia ".
Pavel Korin named this unwritten painting "Requiem". Maxim Gorky christened her “Departing Rus”, placing the name he had invented (and his own name) as a shield between the artist's idea and those to whom this idea might seem “unreliable”.
From many years of work on the "Requiem" we are left with only sketches. Lots of sketches. There are many brilliant - and tragic - portraits of those who left. Whom the Soviet reality "left", expelled from itself.
The idea of the canvas was born to Pavel Dmitrievsich when he, together with MV Nesterov, came to say goodbye to the deceased Patriarch Tikhon. On that day, April 12, 1925, to the horror of the authorities, it became a place of attraction for thousands of people. The rhythm of life in socialist Moscow was disrupted. What horrified the party officials shocked Korin. He saw in this the Church, which came out to the "last parade" and initially planned to paint a picture-procession, so that its heroes would pass before the viewer in a mournful line.
S. S. Churakov recalled his early sketches for “Requiem”: “This is a procession in the mountains. Snowy mountains and walking people ”. But all further work proceeded in the mainstream of the "painting-anticipation" (in this anticipation, however, there is also the potential of movement, the outcome; as if everyone had gathered before a long journey), and interiors were chosen as the background, which gives the impression that the figures seem to be " protrude "from the walls, become a continuation of the frescoes depicting the ancient martyrs and saints ...
Working on the painting, the artist created a cycle of several dozen portraits. These are really portraits - quite real, mostly "historically recognizable" people. But at the same time they are tragic symbols of the era.
And the prepared canvas - measuring five and a half by nine and a half meters - remained intact. We got only sketches.
Sasha Mitrahovic 30.10.2017 07:49
"Decorative Arts" - Agriculture. Trade in Ancient Greece. Temple of Cecera. Potter. Ancient Greece. Work in the mines. Statues. Painting. The role of decorative arts in society. Vase painter. Exhibition of creative works. Temple of Poseidon. Ancient Greek school. Practical work. Casting of a bronze statue. Temple of Apollo.
"Types of art" - (From church-Slavs. Theater. Culture -. Homework. Art. Circus. Cinematography. Material (things and objects created by man). Spiritual (traditions, customs, ideas and knowledge about nature, about himself Photography, Morality, Sculpture, Culture, Art (lat. Television. Decorative and applied art.
"Art and its types" - Decorative and applied. Distinguish between artistic, scientific, journalistic, reference, critical, courtly, epistolary and other literature. Graphics, Fine arts include: Easel. Monumental. Music is also divided into: folk and classical modern jazz military spiritual.
"Romanov Toy" - Ash from the ovens was often poured into the garden as fertilizer. History. Craftsmen made pots, pots, bowls, spoons from clay. The Romanov toy also began to disappear. ... Then they were soaked in wooden troughs. Vanka the potter, you know what kind of toys he makes! And later, the production of toys was completely banned.
"Art of Beauty" - The unity of science and art is the most important guarantee of the subsequent development of culture. Mariinskii Opera House. Outwardly, harmony can manifest itself in melody, rhythm, symmetry, proportionality. And today the enthusiasm of researchers is not diminishing. ...Music. From the history of the golden section. Mathematics is the prototype of the beauty of the world.
"Lessons of folklore" - Lesson structure. Folk culture is one of the means of moral, cognitive, aesthetic development of children. The problem is a difficult question, a problem that requires solution, research. Explanatory note. Abstract The project was created for 5th grade students. The creative name of the project: "What, what are our kids made of ...".
There are 12 presentations in total
Born in the famous Palekh in the family of a hereditary icon painter. The first teacher of painting for Corin was his father. Sent to Moscow to study painting, Pavel in 1911. helps the artist M.V. Nesterov in the work on the painting of the Cathedral of the Martha and Mary Convent. In 1912 he entered the Moscow School of Painting, Sculpture and Architecture (Yushkov House), which he graduated in 1916. Among his mentors were K.A. Korovin and S.V. Malyutin, but A.A. Ivanov and M.V. Nesterov.
Pavel Korin lived in Moscow, often visiting his native Palekh.
Like his artistic predecessor A.A. Ivanov, in 1925. Pavel Korin finds his theme in creativity. He dreamed of creating a large canvas, similar to Ivanov's "The Appearance of Christ to the People."
Inspiration came to the artist during the funeral of Patriarch Tikhon in the Donskoy Monastery in 1925. Korin conceived the idea of creating a multi-figured composition that personifies the image of the Russian Orthodox Church. For an Orthodox Russian person, these funerals, which took place in the presence of a large crowd of people, were tantamount to parting with the former Russia, doomed, but confident in its spiritual rebirth. A stream of thousands of believers inspired the artist to "Requiem", a painting that would embody Holy Russia in a period of tragic changes. To create a large-scale canvas, Korin painted wonderful portraits-types over the next ten years (“Father and Son” in 1930, “The Beggar” in 1933, “Abbess” in 1935, “Metropolitan” (future Patriarch Sergius), 1937 and etc.). In the course of this work, his original style of writing was formed.
In 1931 the writer M. Gorky visited Korin's workshop (Profitable House of A.K. Echkin). The sketches made a strong impression on him. However, as if trying to save the artist from possible repressions, Gorky suggested that he replace the original name of the painting with something else - "Russia is leaving".
At the invitation of M. Gorky, Pavel Korin, together with his brother Alexander, toured Italy and other European countries. During this trip, the artist made a huge number of sketches and sketches. Living with Gorky in Sorrento, the artist painted the famous portrait of the writer in 1932.
In 1935-1937. the artist created a general sketch of his future grandiose canvas “Departing Russia. Requiem". The sketch is full of symbols and full of energy. Before us is the Church, going out to battle with godless power and appealing not so much to church hierarchs as to God. A striking revelation is the future high spiritual destiny of the highest hierarchs of the church, guessed by the artist. Then, in 1935, already in the initial sketch, we see, along with the Patriarch of Moscow and All Russia Tikhon, Metropolitans Sergius and Alexy, who, respectively, in 1943 and 1944. was destined to become the next first hierarchs of the Orthodox Church. Even more surprising is that next to them is depicted Hieromonk Pimen, who became Patriarch in 1971, but little known in 1935. Both in the central images, and in the images of simple monarchs and believers, the unifying principle is faith and firmness of spirit, allowing visually to be confident in the final victory of Light over Darkness, Good over Evil. However, the increased pressure on Korin from the authorities forced him to suspend this work.
In 1939-1943. commissioned by the Committee for the Arts, Pavel Dmitrievich painted a series of portraits of Soviet cultural figures (M.V. Nesterov, A.N. Tolstoy, V.I.Kachalov), ceremonial and at the same time dramatic. Inspired by the struggle of the people and victory, the artist creates in the war and post-war years the triptych "Alexander Nevsky" (1942-1943) and the mosaic at the metro station "Komsomolskaya" ring (1953). In the post-war decades, Korin completed the compositional sketch of the painting “Departing Russia. Requiem "(1959). In 1963 the artist was awarded the Lenin Prize.
In 1932 -1959. P.D. Korin directed the restoration workshops of the Museum of Fine Arts. A.S. Pushkin. He collected a most valuable collection of icons, exhibited together with the works of the artist himself in his Moscow House-Museum, which opened in 1971. Due to restoration work, the museum is not working at the moment. The artist supervised the restoration work of the masterpieces of the Dresden Art Gallery. He made a lot of efforts to preserve the artistic heritage of Russia. However, to finish the main work of his life - the painting “Departing Russia. Requiem “- he never did.
The triptych was commissioned by the artist in the year of the Great Patriotic War, when the theme of confronting the invader was central to art. The soldiers who went to the front were inspired by him. Logistics officers providing the soldiers with food, weapons and clothing also found consolation in him.
"Alexander Nevsky" was written under reports from the front, under the roar of anti-aircraft guns, under the bright light of searchlights cutting the sky. It was intended to evoke enthusiasm and inspiration in the souls of the audience, the confidence that the enemy can be defeated, no matter how terrible he may seem, and no matter how countless his hordes are.
On the left and right sides of the triptych, the soldiers are going to war. They were escorted by women - an old mother leaning on a stick, a wife holding a small child in her arms. It is worth fighting for them, for the sake of life to continue, the child grows up, the mother could live out her life in peace and silence, and not in an all-consuming fear for her son. The land itself, its river, village, small church also needs protection, and is also going to wait for its sons.
In the middle, the image of a warrior gets a natural development. Alexander Nevsky is a man who stopped the German knights like no one else could inspire the country's defenders to fight the fascist invaders. There is something monumental in his figure, a memory of the ancient heroes, and at the same time - iconographic severity, a banner with the face of Christ, reminiscent of the holiness of the Russian land. He stands leaning on a sword, a banner is drunk behind his back and a cloak sways in the wind, and, fully dressed in armor, he waits for those with whom to fight will come. They will come - and they will die from the sword with which they came.
And behind him is a defenseless, dear, beloved land. A white-walled city on the river, a cloudy, frowning sky, ready, it seems, to cry. You have to fight for them, for the children and mothers left in the city. And it is impossible not to win - as Alexander could not fail to win in his time.
