The siblings-artists Nikanor (July 2, 1804 - January 23, 1879) and Grigory Grigorievich (November 24, 1802 - May 20, 1865) Chernetsov are not well known to the general public. They were contemporaries of Karl Bryullov, Alexander Ivanov, Alexei Venetsianov, but the history of art has placed the two brothers in the shadow of those greater names.
Nevertheless, their legacy is quite extensive. Their career can be divided into periods that are marked by special achievements and serious canvases. Among the well-studied periods of their work, the so-called first Italian period is especially interesting. The ‘Homeland of the Arts’ shows where the artists ended up, and it became a real school of creativity for them. During this period, the brothers mainly worked in Rome and, like many gifted artists, drew inspiration from the images of Roman ruins. The stones of old, dilapidated walls, architectural fragments of centuries-old buildings of the Eternal City received a new life in their works.
‘The View of the Colosseum on a Moonlit Night’ by Nikanor Chernetsov is one of his monumental paintings, imbued with special expressiveness. After arriving in Rome, the Chernetsov brothers made the Colosseum the ‘first subject’ of their ‘studies.’ The impressions were embodied in a number of graphic and pictorial studies of this plot. This historical monument itself became an incredible and grandiose spectacle, similar to those that were once held within its walls, a living reminder of the frailty of earthly existence.
Nikanor Chernetsov captured the symbol of Rome in all its greatness, creating a poetic and sublime image of ancient times. The moon, emitting cold light; the grandiose scale, giving special severity and solemnity to the structure; the form of obelisks — ancient tombstones, and human figures, seemingly tiny in comparison with the surrounding landscape — all this emphasizes the greatness of the Colosseum.
Despite the mood of the painting getting close to romanticism, the artist kept both topographical and spatial authenticity. All plans of the work were worked out in detail; you can even distinguish the figures of people with torches in one of the arched openings of the Colosseum. Despite the night time, the space of the former arena of the amphitheater is well lit by moonlight, and the viewer can see every detail. In the center you can see the contours of a raised stone cross, and around it are the preserved half-ruined altars, the oratorios.
Chernetsov captured the interior of the Colosseum as it was for most of the 19th century. Other painters did not always strive for such detailed elaboration, which makes Nikanor Chernetsov’s work particularly interesting historical evidence.
Nevertheless, their legacy is quite extensive. Their career can be divided into periods that are marked by special achievements and serious canvases. Among the well-studied periods of their work, the so-called first Italian period is especially interesting. The ‘Homeland of the Arts’ shows where the artists ended up, and it became a real school of creativity for them. During this period, the brothers mainly worked in Rome and, like many gifted artists, drew inspiration from the images of Roman ruins. The stones of old, dilapidated walls, architectural fragments of centuries-old buildings of the Eternal City received a new life in their works.
‘The View of the Colosseum on a Moonlit Night’ by Nikanor Chernetsov is one of his monumental paintings, imbued with special expressiveness. After arriving in Rome, the Chernetsov brothers made the Colosseum the ‘first subject’ of their ‘studies.’ The impressions were embodied in a number of graphic and pictorial studies of this plot. This historical monument itself became an incredible and grandiose spectacle, similar to those that were once held within its walls, a living reminder of the frailty of earthly existence.
Nikanor Chernetsov captured the symbol of Rome in all its greatness, creating a poetic and sublime image of ancient times. The moon, emitting cold light; the grandiose scale, giving special severity and solemnity to the structure; the form of obelisks — ancient tombstones, and human figures, seemingly tiny in comparison with the surrounding landscape — all this emphasizes the greatness of the Colosseum.
Despite the mood of the painting getting close to romanticism, the artist kept both topographical and spatial authenticity. All plans of the work were worked out in detail; you can even distinguish the figures of people with torches in one of the arched openings of the Colosseum. Despite the night time, the space of the former arena of the amphitheater is well lit by moonlight, and the viewer can see every detail. In the center you can see the contours of a raised stone cross, and around it are the preserved half-ruined altars, the oratorios.
Chernetsov captured the interior of the Colosseum as it was for most of the 19th century. Other painters did not always strive for such detailed elaboration, which makes Nikanor Chernetsov’s work particularly interesting historical evidence.
