Winter landscape (Russian winter), Nikifor Stepanovich Krylov, 1827
- Posted by Nikifor Stepanovich Krylov
- Museum: Russian Museum
- Year: 1827
Overview of the painting :
Winter landscape (Russian winter) – Nikifor Stepanovich Krylov. 1827. Oil on canvas. 54×63.5
Krylov is the first student of A. G. Venetianova, the artist from whom the history of the Safonkov school began. Venetianov met Krylov at the Terebensky Monastery of the Tverskoye province, where he painted an iconostasis with an artel of Kalyazin icon painters on the position of the apprentice. On the advice of Venetianov, Krylov began to draw from nature and write portraits. In 1825, he arrived in St. Petersburg, settled with Venetianov as his student, and at the same time began to attend drawing classes of the Academy of Arts.
Very little is known for Nikifora Krylov’s paintings, “Russian Winter” is the most significant of them. The documents of the Society for the Promotion of Artists, sponsored by Krylov, retained information about the history of writing this landscape. When the young artist had the intention to perform a winter look from nature, there were patrons ready to help him with this. According to Krylov’s choice of a place near Tosna, he built a whole workshop there, “giving the artist and the contents of his classes all the time”. Within a month, the picture was completed, and after its appearance at the exhibition of the Academy of Arts in 1827, it made a strong impression on the audience.
Working on the landscape, Krylov remained faithful to the principle inspired by Venetianov, “there is nothing to portray otherwise than in kind is and obey her alone.”. The artist wrote the landscape from a high coast, and this allowed him to present a wide panorama of the area. From the fire, the road descends into the floodplain of the Tosna River with banks overgrown with shrubs, in the distance a dark strip of dense coniferous forest is visible. The painter subtly felt the state of nature on a winter day. Blueish shadows lie on the snow, the sky is covered with clouds, objects clearly loom on the lobby of the snow. The landscape is revived by figures of people engaged in everyday affairs: here are two women who met on the way to the cut, where they spread clothes, and a stately peasant woman with wooden buckets on the coronary, and a young peasant leading to the horse’s brides. The integrity of the full-scale observation is combined in Krylov with the poetic of the general mood, inspiring the landscape.