Крымская тема в русской пейзажной живописи: этапы и особенности творческого освоения (конец XVIII – начало XX веков)
Authors: Андреева Е.В. 
Published: October 2024

Цель исследования состоит в выявлении особенностей развития российской пейзажной живописи, тематически связанной с Крымом и рассматриваемой как неотъемлемая часть национального культурного наследия. В качестве материалов использованы искусствоведческие исследования и репродукции живописных произведений. Исследованы складывавшиеся на протяжении всего XVIII в. важнейшие факторы, определившие развитие российской пейзажной живописи. Определено, что в русском изобразительном искусстве крымские сюжеты появляются после вхождения полуострова в состав Российской империи. Выявлены и последовательно проанализированы три этапа формирования образа Крыма в русской живописной традиции. Обоснована преемственность в развитии связанной с Крымом пейзажной живописи, состоящая в передаче знаний и навыков от художников-«первопроходцев» к ученикам. Установлены особенности, определяющие специфику крымской пейзажистики в рассматриваемый период.

The aim of the study is to identify the features of the development of Russian landscape painting, thematically related to Crimea as an integral part of the cultural heritage of Russia. The complex of materials used included works of art history and collections of reproductions of paintings. The methodological tools involve a combination of systemic, historical-genetic and comparative-historical approaches, with the modern idea of cultural heritage, which represents an unconditional value for any people that must be preserved and passed on from generation to generation, being at the forefront. The most important factors that determined the development of Russian landscape painting and took shape throughout the 18th century have been identified (reforms of Peter the Great accompanied with the secularization of art, the establishment of the Academy of Arts and the presence in Russia of professional visual artists). It has been determined that Crimean subjects appear in Russian fine art after the peninsula became part of the Russian Empire. Three stages in the formation of the image of Crimea in the Russian pictorial tradition have been identified and analyzed: (1) the activities of landscape painters who depicted Crimean landscapes at the end of the 18th century (Mikhail Ivanov and Fyodor Alekseev), (2) the works of Ivan Aivazovsky, and (3) the legacy of representatives of the Cimmerian school of painting (Konstantin Bogaevsky, Maximilian Voloshin, and others). The continuity in the development of landscape painting associated with Crimea is substantiated, which consists in the transfer of knowledge and skills from “pioneer” artists to their students. It has been established that, at the first stage of its evolution, the art of landscape associated with Crimean subjects developed thanks to the desire of artists to demonstrate their own individuality, their skills in working in the natural landscape, a sense of civic responsibility, and the unique features characteristic of the Crimean nature. The features that define the specifics of Russian landscape painting thematically related to Crimea have been identified: (1) Crimean landscape painting was formed as a result of the activities of artists-“video-painters”, carried out on the initiative of the state; (2) the special place of the Crimean landscape in Russian fine art is due to the uniqueness of the landscapes and subjects depicted; (3) the evolution of landscape painting based on Crimean subjects, thanks to the practice of student succession, influenced the development of the entire national painting tradition.