Mikhail Kirsanov Biography

Schwigleva, a researcher at the Military Historical Department on September 28, has come to the age of artist Mikhail Gerasimovich Kirsanov-whose activity was related to the royal village. Mikhail Kirsanov was born in the village of Agrafenin deserts of the Solotchinsky district of the Ryazan province in a poor peasant family. The boy showed a tendency to drawing early, independently mined paper and pencils, which he exchanged from the carriageways with bones and rags.

Working as an assistant shepherds for “9 rubles per season”, he copied lubric pictures all his free time and tried to draw from the nature of animals.

The rumor about the gifted boy reached the neighboring villages. Mikhail Kirsanov was invited to study, and then to work in the icon -painting workshops of the Ryazan province. The icons written by him were sold out well, and one of the adult masters advised Mikhail to go to art school in Moscow, giving 3 rubles on the road. A sixteen -year -old painter went to Moscow, where he first got a job at the Iconnika workshop V.

Guryanova on Rogozhskaya. Having worked there for several months, Kirsanov decided to turn to V. by looking at the drawings, the famous artist gave recommendations for enrolling painting and sculpture to the school. In general education, the young man did not correspond to the school and was determined to the primary grade of the Stroganov school. On the first day of training, Mikhail mixed up the classes and ended up in the classroom of high school students, where he received higher grades for drawings from ancient sculptures.

Looking at his work, Vasnetsov ordered: “That's what, don’t go to Stroganovka anymore, stay with me, you’ll live here. I will prepare you in the school of painting, you will engage in with my daughter Tatyana ”[1]. In the year, Mikhail Kirsanov successfully passed the exam at the Moscow School of Painting, Sculpture and Architecture and studied there up to a year with A. Vasnetsov, A.

Korin and K. Korovin; visited the portrait class of V. Serova; He received a scholarship paid by P. at the end of the school, having received the title of artist of the 1st degree, Kirsanov settled in St. Petersburg, where in the years he was in the artistic association of the city, which arose at the initiative of students of art schools in order to unite young artists. In the year, on the recommendation of V.

Vasnetsov, the painter was invited as a full -time artist to the ministry of the court and was represented by the imperial family. According to contemporaries, the empress and her daughters were very warmly related to the master, who remained a court painter up to a year. Since the year, the activities of Mikhail Kirsanov have been connected with the work on the creation of a temple in the Tsarskoye Selo in honor of the icon of the Theodor Mother of God for the Consolidated-Perekhny Regiment to protect the tsarist residence, the imperial convoy and the railway regiment.

A land plot on a hill on the shore of the pond was allocated for the temple, next to the barracks of three regiments and located near the Alexander Palace - the residence of the imperial family. Thanks to the position of the full -time artist of the Ministry of Court, M. Kirsanov, it was honored to work with outstanding artists of his time. The original architectural ensemble in the Old Russian style was created by the efforts of members of the Society of the Renaissance of Artistic Rus'.

Architects, artists, artists, historians took part in the development of the idea and implementation of the project: A. Schusev, A. Pomerantsev, V. Pokrovsky, S. Krichinsky, P. Pokryshkin, V. Maksimov, A. Vasnetsov, M. Nesterov, I. Bilibin, L. Pasternak, N. Pashkov and others. In the fall of the year, the construction of the temple was completed - he received the official name of the Theodorovsky Sovereign Council.

The temple consisted of two parts: a high and bright upper temple, designed for a large number of prayers, with two aisles in the name of the Theodore icon of the Mother of God and in the name of St. Alexy - Metropolitan of the Moscow and Lower Temple. The lower cave temple, named in the name of St. Seraphim of Sarov, was a secluded place for the prayers of the imperial family.

The interiors of the temple were created according to the project of V. Maksimov, the painting of the walls and ceiling according to the sketches of the Vasnetsov brothers was performed by the painter L. The ensemble of the Feodorov Cathedral and the town was designed to realize the image of Holy Rus', the idea of ​​the revival of Russia based on a return to the original national principles.

At that time, in connection with the preparation of the celebration of the Flight of the Romanov House, the public album “Theodorovsky Sovereign Cathedral in Tsarskoye Selo” was supposed for the publication. To work on the album, a large author's team was assembled, which included Mikhail Kirsanov. The artist had to capture the beauty and spirituality of this fabulous corner of Russia.

For six paintings performed for Theodor Cathedral [2], 1 rubles were paid to the artist in the year [3]. The end of the construction of the ensemble coincided with the outbreak of World War I, which replaced the revolutionary cataclysms. Maybe that's why they cause a kind of, a nimble feeling: in the paintings there are characteristic signs of wartime. The wounded soldiers, officers prayed in the cathedral, the sisters of mercy worked.The works of Mikhail Kirsanov are easily recognized thanks to the individual manner of writing and a kind of color.

The interior of the cave temple is very subtle and romantic: “View from the altar to the front door” on the canvas depicts the inner anfilad of rooms, in which there are no windows, there are benches, on the walls of the lamps and icons - all in a soft, golden radiance. Air, warmed up with warm candles, trembles slightly. The painter deliberately creates a certain vague of the contours of everything depicted.

This method of the artist gives a sense of unreality of what he saw. A similar feeling is caused by his other picture - "the queen of the place in the light of wax candles." A similar technique is used here, creating an atmosphere of a certain incredited, a feeling of impaired presence-like an empress, interrupting her prayer, came out for a moment ... In the painting “The burial of Christ in the lower cave temple of the Theodorovsky Cathedral” a solemn moment of the church service is captured-the raincoat, in which Emperor Nicholas II, depicted in dark blue Cherkesska is involved imperial convoy.

Everything occurs with a gathering of a large number of the military, but their figures on the canvas are almost incorporeal, barely visible - they are like shadows floating through golden light from flickering candles. The participants of the ceremony are moving deep into the temple, holding the raincoat raised in outstretched hands, there are ranks of the combined-pagan regiment with lighted wax candles in their hands.

The canvas “A worship in the Fedorov Cathedral in the presence of Nicholas II” captures another moment of service in the upper temple. Kirsanov depicts Nicholas II sitting in a carved oak chair in the royal place, which was on the clergy against the southern doors of the altar. The inventory of the year [4] mentions two more paintings by M. Kirsanov related to the Theodor Cathedral: “Nicholas II with the heir and four great princesses is at the head of the procession to the porch of the Fedorov Cathedral” and “The building of the soldier’s infirmary in the Fedorovsky town in the winter”, on which Nicholas II speaks the Feodorovsky Cathedral Permannaya D.

A broken at the royal entrance to the cathedral. The fate and location of these works today is unknown. The memoirs of the son of D. N Loman, Yuri, who writes in his notes to the painting “The Building of the Soldier's Lazaret in the Fedorovsky town”: “On February 16 and 17, I went into my father’s office, an economic working merchant ... A picture of Kirsanov’s brush“ Fedorov Cathedral ”hung over the sofa.

This morning, a father was sitting at the table, and in the Volter chair the artist Kirsanov. Together with his father, he was preparing to show the refectory members of the Society for the Renaissance of Artistic Rus'. The meeting of this society was to be held in the town on February 19 ... ”[5]. It is also known that a postcard was released from this work in the year. A series of paintings by Theodore Cathedral, created by the painter M.

Kirsanov, represents valuable iconographic material for the Tsarskoye village. The paintings are made by the hand of the master in a picturesque, impressionistic manner. The general view of the ancient Russian white -stone chambers creates the illusion of their authenticity, cause fabulous images in memory - before us is like a certain epic kingdom of King Berendei, embodied in reality.

It was as if on this peculiar theater platform the scenes of an ancient life, transferred to the 20th century, were played out. Kirsanov was looking for a new art form, thematically oriented in the picture of life and the way of old patriarchal Rus'. The artist coped with his task, creating canvases, conveying the spirituality of this amazing place. The paintings of the memoirs of his childhood, the Pictures of the Grace, made by small strokes of the pastors in the golden yellow gamut, as if swim, trembling, in the haze of warm air, heated by lit wax candles.

Born by the artistic fantasy of the painter, these paintings fascinate us, today's spectators, their fantastic mystery, a sense of presence and a quick accurate manner of writing. With the outbreak of World War I, at the suggestion of Prince M. Putyatin, approved by Nicholas II, it was decided to arrange a gallery of portraits of St. George Cavaliers: “Batal paintings should be exhibited here and a portrait gallery of the lower cavalry officials of the complete St.

George Banta recalled,” Yu. Limon recalled [6]. In the year, artists M. Kirsanov, S. Devyatkin, V. Poyarkov, I. Portraits were written from the photographs heroically distinguished in the battles of soldiers and officers were invited. A heated portrait was executed. Of these, 58 portraits have survived to the present day, including 14 - M.'s brushes in addition to the execution of portraits, by order of the Council of the Sovereign Staff, the artist recorded military trophies entering the Tsarskoye Selo.

Thanks to the openness of his soul, the talent and desire to draw Mikhail Kirsanov gained respect and love among his “classmates” at the Moscow School of Painting, Sculpture and Architecture. Special friendship has developed with the artist with Ivan Nefedov, who was from the Russian outback-Ivanovo-Voznesensk.Friends studied with A.