The first elements of still life paintings were found in religious paintings and icons. They were flowers and fruits wreaths that framed the figures of Mary, the Mother of God, and Jesus Christ. As an independent genre, still life appeared in the paintings of Dutch and Flemish artists of the 17th century. Artists admired elegant dishes, delicious food, paying attention to the folds of the tablecloth and draperies.
In Russia, up to the end of the 19th century, this genre, in contrast to the portrait and historical painting, was considered ‘inferior’. It was used as an educational exercise for aspiring artists, and was also used to decorate household items such as cabinet doors. Still life painting flourished in Russia at the beginning of the 20th century, when artists were looking for new subjects and techniques.
The exhibition of the Chelyabinsk State Museum of Fine Arts displays Nikolay Kuznetsov’s still life “Breakfast”.
Nikolay Kuznetsov is a representative of the new avant-garde painting. He studied art in Europe, in the workshops of Henri Mathis and Charles Guerin. In the first years of Soviet government, Kuznetsov was engaged in the design of districts of Moscow for important dates such as the holiday of May 1, the Third International Congress. He also created scenery for the theater of the Presnensky District, participated in the opening of the Moscow Theater for Young Spectators, opened the Museum of the Presnensky District. In the late 1930s, Kuznetsov began teaching at the Stroganov School.
Nikolay Kuznetsov organized his first personal exhibition in 1963. It took place in the House of Artists on Zholtovsky Street (now Ermolayevsky Lane).
Nowadays, the paintings of Nikolay Kuznetsov are housed in the State Tretyakov Gallery, the Vladimir-Suzdal Museum-Reserve, the Krasnoyarsk State Art Museum named after V. I. Surikov, the Saratov State Art Museum and other major collections.
Nikolay Kuznetsov created the still life “Breakfast” in 1916 when he participated in the exhibitions “The Jack of Diamonds”. The artists of this association moved away from realistic painting, focused on the shape of the object, the reflection of its mass and color. A characteristic feature of their canvases was the point of view from above. Kuznetsov used the technique of reverse perspective, which had earlier been used in Byzantine and Ancient Russian icon painting.
In Russia, up to the end of the 19th century, this genre, in contrast to the portrait and historical painting, was considered ‘inferior’. It was used as an educational exercise for aspiring artists, and was also used to decorate household items such as cabinet doors. Still life painting flourished in Russia at the beginning of the 20th century, when artists were looking for new subjects and techniques.
The exhibition of the Chelyabinsk State Museum of Fine Arts displays Nikolay Kuznetsov’s still life “Breakfast”.
Nikolay Kuznetsov is a representative of the new avant-garde painting. He studied art in Europe, in the workshops of Henri Mathis and Charles Guerin. In the first years of Soviet government, Kuznetsov was engaged in the design of districts of Moscow for important dates such as the holiday of May 1, the Third International Congress. He also created scenery for the theater of the Presnensky District, participated in the opening of the Moscow Theater for Young Spectators, opened the Museum of the Presnensky District. In the late 1930s, Kuznetsov began teaching at the Stroganov School.
Nikolay Kuznetsov organized his first personal exhibition in 1963. It took place in the House of Artists on Zholtovsky Street (now Ermolayevsky Lane).
Nowadays, the paintings of Nikolay Kuznetsov are housed in the State Tretyakov Gallery, the Vladimir-Suzdal Museum-Reserve, the Krasnoyarsk State Art Museum named after V. I. Surikov, the Saratov State Art Museum and other major collections.
Nikolay Kuznetsov created the still life “Breakfast” in 1916 when he participated in the exhibitions “The Jack of Diamonds”. The artists of this association moved away from realistic painting, focused on the shape of the object, the reflection of its mass and color. A characteristic feature of their canvases was the point of view from above. Kuznetsov used the technique of reverse perspective, which had earlier been used in Byzantine and Ancient Russian icon painting.
