ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ ВЫСТАВКИ Ирина Шуманова, Евгения Илюхина КАРАНДАШНЫЙ РИСУНОК: от Ореста Кипренского до Казимира Малевича Третьяковская галерея благодарит за финансовую поддержку выставки Ивана Павловича Кардашиди В статье Рисунок карандашом – один из древнейших видов творче- использованы ства, начало всех изобразительных искусств. Неразлучный материалы А.З.Антоновой, спутник художника, карандаш фиксирует рождение замысла Л.А.Торстенсен, и этапы его дальнейшего формирования. В то же время рису- Е.А.Плотниковой нок существует как самостоятельный вид искусства со своим языком, своими специфическими законами и своей историей. Карандаш имеет множество разновидностей – серебряный, свинцовый, графитный, итальянский, восковой, цветной, литографский и другие, а также широкий круг родственных материалов – уголь, сангина, соус. Художественные приемы в этих «сухих» рисовальных техниках бесконечно разнооб- разны, в них ярко проявляется индивидуальность мастера, чувство формы, природная одаренность и уровень профес- сионализма. Рисунок карандашом, углем, сангиной, соусом – лучшее отражение темперамента и характера художника. Из широкого спектра разновидностей карандаша и способов ра- боты ими каждая эпоха выбирала наиболее созвучные ей. Классицизм ценил строгую красоту линейного рисунка, романтизм – живописность штриха и контрастные сопоста- вления, приверженцы «критического реализма» художники- М.А.ВРУБЕЛЬ передвижники воспринимали карандаш как «скромного тру- Голова Демона женика», модерн возвратил самодостаточность линии и эсте- 1889–1890 Этюд к картине тическую ценность самого процесса рисования. «Демон сидящий» (1890, ГТГ) рафическая выставка, проходящая произведений знаменитых мастеров ри- Бумага, прессованный Гв залах Третьяковской галереи с но- сунка – А.О.Орловского, О.А.Кипрен- уголь, сангина ября 2010 по апрель 2011 года, позволи- ского, А.Г.Венецианова, К.П.Брюллова, × 41 68 ла уловить характерные приметы вре- А.А.Иванова, П.А.Федотова, А.К.Сав- Mikhail VRUBEL мени, «обрисовать контуры» различных расова, И.И.Шишкина, И.Е.Репина, Head of the Demon эпох. ГТГ обладает уникальным собра- В.А.Серова, М.А.Врубеля, К.А.Сомо- 1889-1890 нием произведений русских художни- ва, Ф.А.Малявина, Б.М.Кустодиева, A study for the painting ков, которое достаточно полно и разно- Б.Д.Григорьева, К.С.Малевича. “Sitting Demon” (1890, Tretyakov Gallery) образно отражает развитие этого вида В XVIII столетии в России ка- Pressed charcoal, изобразительного искусства в России. рандашный рисунок рассматривался sanguine on paper В экспозиции представлено более 250 прежде всего как рабочий материал. 41 × 68 cm 22 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #1’2011 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #1’2011 23 THE TRETYAKOV GALLERY CURRENT EXHIBITIONS Irina Shumanova, Yevgenia Ilyukhina DRAWING TECHNIQUE: From Orest Kiprensky to Kazimir Malevich The Tretyakov Gallery thanks Ivan Kardashidi for support of the exhibition Anna Antonova, Pencil drawing is one of the oldest art forms, the source of all visual arts, recording the inception Lydia Tornstensen and Yevgenia of an idea and the stages of its further development. But drawing also has a life of its own as an Plotnikova independent art form with a distinctive language, specific rules and history. also contributed Pencils come in many different varieties – silver, lead, graphite, black chalk, wax, coloured pen- to the publication. cils, lithographic pencils and other types – and the word also refers to a large number of similar media which can be categorized as the techniques of “dry drawing”, like charcoal, sanguine and sauce. There is an almost limitless variety of techniques involving the use of these materials, and they serve to show off a particular artistʼs individuality, sense of form, innate talent and level of skills. A drawing in pencil, charcoal, sanguine or sauce is the best reflection of its creatorʼs tem- perament and character. From the vast variety of pencil and pencil-related techniques every epoch chooses those that suit it best. The age of classicism treasured the austere beauty of linear drawing, romanticism – the contrasts and the picturesque quality of strokes; for the “Peredvizhniki” (Wan- derers) artists, pencils were “modest workers”, and the modernist movement re-invented the self- sufficiency of lines and the aesthetic value of the process of drawing as such. he exhibition devoted to Russian piece is now a rarity. 18th-century draw- One piece is executed with a lead pencil, T drawings pays attention to the char- ings are especially interesting as records of which leaves on paper fine shining acteristic marks of different time periods, the development of drawing techniques depressed lines. In another piece, a soft and “traces the contours” of different and media. Media such as silver and lead black chalk smoothly traces the outlines of eras. The Tretyakov Gallery holds a pencils – used on their own or in combi- the figure. unique collection of drawings by Russian nation with black chalk – are virtually The featured works of non-Russian artists, one which quite fully and compre- unfamiliar to the contemporary viewer. masters, like the Polish artist Daniel hensively reflects the development of this Such curios held at the Tretyakov Gallery Chodowiecki, are also of interest. One of form of visual art in Russia. The exhibi- include copies, by an unknown artist, of the earliest examples of the use of graphite tion features about 250 pieces by Johann Baptist von Lampi the Elder’s pencil in drawing is Jean-François acclaimed masters of drawing, such as painted portraits, made on coloured Thomas de Thomon’s excellent piece Alexander Orlovsky, Orest Kiprensky, primed paper with silver pencil and black “Landscape with Antique Ruins”, where Alexei Venetsianov, Karl Briullov, Alexan- chalk (Italian pencil) with the addition of the media of graphite and lead are harmo- der Ivanov, Pavel Fedotov, Alexei Savrasov, chalk. A small drawing “Portrait of niously combined. It is well known that Ivan Shishkin, Ilya Repin, Valentin Serov, Catherine II”, accomplished by Yevgraf Thomon executed the piece in 1794 and Mikhail Vrubel, Konstantin Somov, Chemesov in 1762 (a copy of Vigilius then took it with him when he came to Philipp Malyavin, Boris Kustodiev, Boris Erichsen’s portrait, executed as a part of Russia in 1799. In Russia graphite was to Grigoriev, and Kazimir Malevich. engraving process), is an example of a gain circulation as a drawing technique In 18th-century Russia pencilled drawing made with silver pencil alone, only much later. 4 drawings were mostly produced in the showing off the pencil’s fine “scratching” In the landscapes of early-19th cen- В.А.СЕРОВ course of preparatory work. The pencil as strokes. The lead-pencil drawings featured tury pencil drawing, while still an auxiliary Портрет Т.П.Карсавиной. 1909 the medium for rough drafts was used by at the show were accomplished at approx- factor in the creative process, was gradual- Бумага, графитный architects, decorators, sculptors and imately the same period. Lead pencils ly coming into its own as an art form with карандаш. 43 × 26,6 painters. Drawings were never regarded as were often used by Anton Losenko: in his its own original rules and means of expres- having any artistic value in themselves, two studies for the painting “Hector Tak- sion. One can feel this especially well Valentin SEROV4 Portrait of Tamara and collectors almost never took an inter- ing Leave of Andromache” (1773, comparing two unique landscapes – Karsavina. 1909 est in them; as a result very few drawings Tretyakov Gallery) the properties of the one, Stepan Galaktionov’s “Tree”, is an Graphite pencil on of the age have survived, and each extant pencil define the character of the drawing. imposing, large work featuring spectacular paper. 43 × 26.6 cm 24 ТРЕТЬЯКОВСКАЯ ГАЛЕРЕЯ / THE TRETYAKOV GALLERY / #1’2011 CURRENT EXHIBITIONS ВЫСТАВКИ subtle nuances of lighting. Alexander Карандаш в качестве инструмента для О.А.КИПРЕНСКИЙ К.П.БРЮЛЛОВ Портрет генерал- Orlovsky’s style is distinguished by expres- подготовительных рисунков использо- Портрет майора Е.И.Чаплица sive forms and frequent utilisation of black вали архитекторы, декораторы, скуль- Л.К.Маковской. 1836 1812 colour in combination with sanguine, пторы и художники. Самоценность ри- Бумага, графитный Бумага, итальянский which sets off the black chalk. The work of сунка не осознавалась, его почти не карандаш. 35,7 × 29,7 карандаш. 23,8 × 18,9 Alexander Molinari, the European artist коллекционировали, поэтому каждая Karl BRIULLOV Orest KIPRENSKY who worked in Russia for a decade from из немногочисленных дошедших до нас Portrait of Lyubov P ortrait of Major 1806 to 1816 and enjoyed great popularity, работ этого времени – редкость. Осо- Makovskaya. 1836 General Yefim Chaplits is marked by the sentimentality of its бый интерес они представляют с точки Graphite pencil on 1812 paper. 35.7 × 29.7 cm Italian pencil on paper imagery. Molinari used wet brush and зрения развития рисовальных техник 23.8 × 18.9 cm wash drawing, which lent a soft touch and и материалов. Серебряный и свинцо- delicacy to his images. вый карандаши, употребляемые в чис- Karl Hampeln’s style was charac- том виде и в соединении с итальянским, terised by crisp contours of human figures практически незнакомы современному and cross-hatching, which combined the зрителю. Среди хранящихся в коллек- technique of two pencils “lusciously”, ции Третьяковской галереи раритетов producing drawings that looked like есть копии неизвестного