Vasily Vereshchagin 瓦西裡·韋列夏金 (1842 - 1904) Realism Russian
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Vasily Vereshchagin was a Russian painter who specialized in war scenes. He was one of the first Russian painters to achieve significant fame outside his home country. A number of Vereshchagin’s artworks were never shown in public during his lifetime because of the harsh realism of his style. He was often controversial in Britain, due to his depiction of that country’s sometimes brutal colonial rule in India.
Vereshchagin was born in the city of Cherepovets in the Vologda region of Russia. His father was a landowner, and his reasonably prosperous background helped the young Vasily to gain entry into the Junior Cadet Corps at the age of eight. The following year, 1853, he was enrolled at the Naval School in St. Petersburg, where he discovered his love of drawing. He started to attend the St. Petersburg Society for the Furtherance of the Arts in 1858. This, along with good reports from his school teachers, made Vereshchagin want to become a professional artist.
Despite graduating from Naval School in 1860, Vereshchagin was determined to follow his artistic dreams. He enrolled in the Academy of Arts instead of continuing his naval career. This enraged his father so much that he stopped supporting him, leaving the teenager to make his own way in the world. He threw himself totally into his art and never married. In later life, however, he maintained some links with the military beyond simply depicting the horrors of war. This would eventually cost Vereshchagin his life: he was a guest of Admiral Makarov during the Russo-Japanese war in 1904 when the ship he was on was torpedoed.
Vereshchagin soon became unhappy with the traditional, inflexible methods advised by the Academy of Arts. Eventually, he became so frustrated that he deliberately destroyed one of his works in protest. By 1863, he had quit the Academy entirely, traveling to the Caucasus region to “learn from Nature.” This visit influenced his early work considerably, with many of the scenes he painted in the following years being pictures of landscapes in the region. Several years later, he watched workmen hauling barges and decided to depict their misery in art. The painting he planned, however, was never finished.
1867 saw a highly significant turning point in Vereshchagin’s development. He traveled to see the conflict in Turkestan, and not only observed the war but played an active role. As part of a garrison defending a fortress in Samarkand, he was awarded a medal for his bravery. Vereshchagin returned to Turkestan two years later, spending considerable time learning about its customs and traditions. He used this information to paint a series of works showing life in central Asia. Vereshchagin found the region colorful and full of life, but he was keenly aware of its poverty and social problems, painting several pictures of beggars and slave markets.....
瓦西裡·韋列夏金是俄羅斯畫家誰專門從事戰爭場面。他是第一個俄羅斯的畫家之一，以實現自己的祖國之外顯著成名。許多韋列夏金的作品中從未生前在公共顯示，因為他的風格的嚴酷現實主義的。他在英國是經常引起爭議，因為他在印度全國有時殘酷殖民統治的寫照。
韋列夏金出生在城市，在俄羅斯的沃洛格達地區切列波韋茨的。他的父親是一個地主，他的合理繁榮的背景幫助年輕的瓦西裡在八歲的時候獲得進入少年青年團。次年，1853年，他在海軍學校在St.被錄取聖彼得堡，在那裡他發現了他的繪畫的熱愛。他開始參加聖聖彼得堡耆藝術贊助1858年這一點，從他的學校老師好報告一起，做出韋列夏金想成為職業藝術家。
儘管在1860年從美國海軍學院畢業，韋列夏金決心跟隨他的藝術夢想。他就讀於藝術，而不是繼續他的海軍生涯的學院。這激怒了他的父親，以至於他停止支持他，使少年做出自己的方式在世界上。他全身心地投入到完全他的藝術和從未結婚。在以後的生活，然而，他保持著與軍方一些鏈接超出了簡單的描述戰爭的恐怖。這最終會花費韋列夏金他的生活：他是馬卡羅夫海軍上將的日俄戰爭期間，嘉賓在1904年，當他在船被魚雷擊中。
韋列夏金很快就不高興與藝術學院建議傳統的，僵化的方法。最終，他變得很沮喪，他故意毀壞他的抗議作品之一。到了1863年，他不得不退出了奧斯卡完全，前往高加索地區“從大自然中學習。”這次訪問影響了他的早期作品增色不少，許多他在接下來的幾年是在該地區的風景照片畫的場景。幾年後，他看到工人們拖駁船，並決定將其描繪在藝術上的痛苦。他計劃這幅畫，然而，從來沒有完成。
1867看到了韋列夏金的發展高度顯著轉折點。他跑遍土耳其斯坦的衝突，而不是只看到戰爭，但發揮了積極作用。作為衛冕駐軍在撒馬爾罕一個堡壘的一部分，他被授予他的勇敢勳章。韋列夏金回到了土耳其斯坦兩年後，花費大量時間來學習的習俗和傳統。他用這些信息來畫了一系列的作品展示在中亞的生活。韋列夏金發現該地區豐富多彩，充滿生機，但他敏銳地意識到它的貧窮和社會問題，畫乞丐和奴隸市場的多張照片。
從這一點上，他集中他的大部分精力投入戰鬥的畫作。逐漸地，這些顯示出戰爭的殘酷商業果然是，而不是由最早期的藝術家描繪的那種理想化，浪漫的版本。他這個主題內廣泛範圍，畫當代和歷史場景。韋列夏金塗一切從印度到拿破崙在俄國軍隊的慘敗叛軍的執行。他呼之欲出的寒冷，飢餓和恐懼這些軍隊的普通士兵感到很敏銳。他對他們的封建領主手中他們的待遇深感不快。
其中韋列夏金的早期畫作的戰鬥是一對連接件，在山城和他們進入。這些作品，畫在1870年代初，顯示在希瓦烏茲別克斯坦要塞的攻擊。第一幅畫，在山城，顯示了啟動他們的攻擊焦急而又紀律俄羅斯軍隊的一列。第二件，他們進入，顯示了攻擊的後果：男子在地上躺死者和倖存者都走疲倦遠方。這裡有在早期繪畫中的訓練有素的部隊的意義不大;相反，戰爭被視為惡毒和漠不關心。
英屬印度的韋列夏金的畫變得臭名遠揚，印度起義尤其是抑制，繪於1884年被判犯譁變這項工作表明由野戰炮射擊他們的野蠻方法執行。許多人否認這發生過，說是男人們皆是一或忌用。英國統治印度的另一種寫照可在威爾士王子的國遊行到齋浦爾可見。這個巨大的畫，是世界上最大的，需要一個紀錄片的手法。從遠處看，它與現代的攝影記錄許多相似之處。