Sergey Ivanov (1864–1910)
Life of East Slavs, c. 1909
Oil on cardboard
Height: 58.5 cm (23 in); Width: 83 cm (32.6 in)
Sergey Vasilyevich Ivanov (1864-1910) was a Russian genre and history painter, known for his Social Realism.
Sergey Ivanov (1864–1910)
Zemsky Sobor, c. 1908
I have no further description, at this time
The Zemsky Sobor, assembly of the land, was a parliament of the Tsardom of Russia's Estates of the realm active during the 16th and 17th centuries.
The Zemsky Sobor represented Russia's feudal classes in three categories: Nobility and the high bureaucracy, the Holy Sobor of the Orthodox clergy, and representatives of "commoners" including merchants and townspeople. Assemblies could be summoned either by the Tsar, the Patriarch, or the Boyar Duma, to decide controversial issues or enact major pieces of legislation. More on Zemsky Sobor
He displayed an early talent for art, but his father was opposed on the grounds that it would not be a secure way to make a living so, at the age of eleven, he was enrolled at the Konstantinov Land Surveying Institute [ru].
The Institute was not to his liking and he was an indifferent student, so a family friend who was an amateur artist encouraged his father to send him to the Moscow School of Painting, Sculpture and Architecture (MSPSA). With a recommendation from Vasily Perov, he began auditing classes there in 1878; studying with Illarion Pryanishnikov and Evgraf Sorokin.
He left there in 1882 to attend the Imperial Academy of Arts. Dissatisfaction with the school's administration and financial difficulties forced him to return to Moscow in 1884. He went back to the MSPSA and graduated in 1885.
The artist always managed to be in the midst of popular unrest. He was a participant in the events of the revolution of 1905 and managed to convey to us the feeling of involvement in it of everyone who looks at his canvases.
Palace of Congresses
At that time he started work on a series of paintings devoted to "Pereselenchestvo [ru]", the process of resettling peasants to outlying, vacant areas (mostly in Siberia) in an attempt to ease overcrowding in the villages after the Emancipation reform of 1861.
In 1899, he became a member of the Peredvizhniki, but was soon dissatisfied with their emphasis on "lovely scenes". In 1903, he was one of the founders of the Union of Russian Artists, temporarily replacing the better-known "Mir Iskusstva". In 1905, the Imperial Academy named him an "Academician". Later that year, during the Moscow Uprising, he made numerous sketches while also helping the wounded.
Yuri's Day, or Saint George's Day, is one of two feasts of Saint George, celebrated by the Russian Orthodox Church.
Sergey Ivanov (1864–1910)
Princely congress at Uvetichi, year 1099, c. 1910
Oil on cardboard
Height: 65 cm (25.5 in); Width: 91 cm (35.8 in)
Kostroma Regional Museum of Fine Arts
The Council of Uvetichi consisted of two meetings of the senior generation of princes of Kievan Rus'. It took place in August 1100, and it had a twofold purpose: to bring about a reconciliation among the princes and to pass judgment on Prince Davyd Igorevich. The venue of the conference was not far from Kiev. It is now the village of Vytachiv in the Kyiv Oblast. More on Princely congress at Uvetichi
Sergey Ivanov (1864–1910)
Odnodvortsy, c. 1907
Guarding border of the Moscow state
Oil on cardboard
Height: 60.0 cm • Width: 82.0 cm
Central Border Museum
Odnodvortsy are a special class of Russian military farmers who served as a patrol service on the southern and southeastern border of Russia in the XVI-XVII. Over time, due to the displacement of the borders of the state, they ended up inside the country. They inhabited the central chernozem provinces of Russia - Voronezh, Kursk, Orel, Tula, Tambov, Penza and Ryazan. Households paid a poll tax and a four-grivny quitrent. Like nobles, they could own land that traditionally could only be sold to each other. Common land was distributed on a household basis and not on a per capita basis. Until 1840, they could own serfs, but in fact only a few enjoyed this right (in the 1830s there were more than a million odnodvorets, and they had 11 thousand peasants). More on Odnodvortsy
The Institute was not to his liking and he was an indifferent student, so a family friend who was an amateur artist encouraged his father to send him to the Moscow School of Painting, Sculpture and Architecture (MSPSA). With a recommendation from Vasily Perov, he began auditing classes there in 1878; studying with Illarion Pryanishnikov and Evgraf Sorokin.
Sergey Ivanov (1864–1910)
Trade negotiations in the country of Eastern Slavs, c. 1909
Oil on cardboard
Height: 59.3 cm (23.3 in); Width: 82 cm (32.2 in)
Sevastopol Art Museum
Sergey Ivanov (1864–1910)
Foreigners arrival to Moscow, XVII century, c. 1901
Oil on canvas
Height: 152 cm (59.8 in); Width: 232 cm (91.3 in)
Tretyakov Gallery
Russia's population policy was comprised of two elements—attracting as many people as possible into the Russian empire, and keeping them there. In the 18th century, the Russian empire had conquered the southern steppes, but did not have the people to populate and secure it. To accomplish this the Russian state pursued a policy of offering separate deals—such as land grants, tax breaks, and exemption from military service—to different groups from Europe. More on immigration to Russia
He examined confusion and riots, powerlessness and despair not of an individual, but groups of people, as depicted on the canvas “Going!” kneeling peasants stuck in the snow. And the viewer understands that in a few minutes the cruel repulse of the peasants who have dared to revolt will inevitably begin, that the icon will not be able to protect them, that white snow will become red from peasant blood. Fearfully.
Sergey Ivanov (1864–1910)
Boyar cart / Boyar serfs
Oil on canvasPalace of Congresses
A boyar or bolyar was a member of the highest rank of the feudal Bulgarian, Russian, Wallachian, Moldavian, and later Romanian, Lithuanian and Baltic German nobility, second only to the ruling princes (in Bulgaria, tsars) from the 10th century to the 17th century. The rank has lived on as a surname in Russia, Romania, Finland, Lithuania and Latvia. More on the boyar
Ivanov, Sergei Vasilyevich (1864-1910)
The Boyar's Closed Sleigh, c. 1908
Oil on paper
65x82
State A. Radishchev Art Museum, Saratov
At that time he started work on a series of paintings devoted to "Pereselenchestvo [ru]", the process of resettling peasants to outlying, vacant areas (mostly in Siberia) in an attempt to ease overcrowding in the villages after the Emancipation reform of 1861.
Sergey Ivanov (1864–1910)
Female migrant, c. 1886
Oil on canvas
Height: 37.5 cm (14.7 in); Width: 29 cm (11.4 in)
V. D. Polenov's Museum
Sergey Ivanov (1864–1910)
On the road. Death of a migrant, c. 1889
Oil on canvas
Height: 71 cm (27.9 in); Width: 122 cm (48 in)
Tretyakov Gallery
The move was often very arduous and many died on the way (See above). From 1885 to 1889, he toured the provinces of Samara, Saratov, Astrakhan and Orenburg, documenting the migrants' lives. This was followed by a series on convicts. In the mid 1890s, he began to focus on historical works.
Sergey Ivanov (1864–1910)
Tsar, c. 1902
Oil on canvas
Height: 213 cm (83.8 in); Width: 177 cm (69.6 in)
Tretyakov Gallery
Sergey Ivanov (1864–1910)
Campaign of Muscovites, XVI century, c. 1903
Oil on canvas
Height: 151 cm (59.4 in); Width: 303 cm (119.2 in)
Tretyakov Gallery
The Muscovite–Lithuanian Wars were a series of wars between the Grand Duchy of Lithuania, allied with the Kingdom of Poland, and the Grand Duchy of Moscow, which would later become the Tsardom of Russia. After several defeats at the hands of Ivan III and Vasily III, the Lithuanians were increasingly reliant on Polish aid, which eventually became an important factor in the creation of the Polish–Lithuanian Commonwealth. Before the first series of wars in the 15th century, the Grand Duchy of Lithuania had gained control of a lot of Eastern European territories, from Kiev to Mozhaysk, following the collapse of Kievan Rus' after the Mongol invasions. Over the course of the wars, particularly in the 16th century, the Muscovites were able to expand their domain westwards, taking control of many principalities. More on Campaign of Muscovites
Sergey Ivanov (1864–1910)
Review of service class people. XVI-XVII centuries, c. 1907
Oil on cardboard
Height: 60 cm (23.6 in); Width: 82 cm (32.2 in)
Radishchev Art Museum
Herberstein has the following passage in his notes: “Every two or three years the sovereign chooses a set of regions and enumerates the boyar children in order to find out their number and how many horses and servants each one has. Then he determines each salary. Those who can serve according to their wealth, serve without salary ... ". "Those to whom he pays six gold pieces a year receive a salary in two years on the third: those who are given twelve gold pieces each year should be ready to perform any service without any delay". More on the budgets
Sergey Ivanov (1864–1910)
Family, c. 1907
Oil on canvas
152 х 239 cm
Tretyakov Gallery
Sergey Ivanov (1864–1910)
Family, c. 1907
Another version
Oil on canvas
152 х 239 cm
Tretyakov Gallery
Sergey Ivanov (1864–1910)
Yuri's Day, c. 1908
A peasant leaving his landlord on Yuri's Day.
Oil on cardboard
Height: 60 cm (23.6 in); Width: 82 cm (32.2 in)
I have no further description, at this time
Yuri's Day, or Saint George's Day, is one of two feasts of Saint George, celebrated by the Russian Orthodox Church.
Yuri's Day in the Autumn, celebrated after the end of the agricultural year and the gathering of the harvest, had a special significance on the calendar of Russian peasants during the centuries when the system of Russian serfdom was becoming established. The laws of 1497 defined the two weeks' period around the Autumn Yuri's Day (one week before the feast and one week after it), as the only time of the year when Russian peasants were free to move from one landowner to another. A century later, in 1597, Boris Godunov's regency forbade the movement of peasants on Yuri's day, thus finalizing the evolution of Russian serfdom. More on Yuri's Day
From 1903 to 1910, he taught at the MSPSA. He was also known as an illustrator; creating drawings for classics by Gogol, Lermontov and Pushkin, among others. He died of a heart attack at his dacha near the Yakhroma River. More on Sergey Ivanov
Sergey Vasilievich Ivanov (1864-1910)
Baskaks, c. 1909
Oil on cardboard
Height: 60.0 cm; Width: 82.0 cm
Museum of the History of the City of Moscow, Moscow
n his work, Ivanov sought to convey the pain of the people’s soul, the everyday life of ancient Russia, full of hardships and privations, and not the grandiose and victorious battles.
Captive and humiliated, the people are forced to pay the Horde a tribute On the canvas of the artist, the plot is brightly written, when the bukkak farmer, without going down from his horse, looks at the already prepared file, which is checked against the lists and loaded into the cart by forced Russian assistants.
Before him the best good are disposed, slave girls and young men kneeled. The author has depicted them as bright spots in the foreground, as an image of the centuries-old captivity of Rusich in disunity, without the possibility of resistance. Near the Baskak and around him, the warriors of the Tatar-Mongol horde are shown unobtrusively, but inevitably dark spots. Accompanying the representatives of the khan, they are ready at any moment by the slightest sign to recover the missing part of the collection, killing and robbing everyone. More on this painting
Ivanov, Sergei Vasilyevich (1864-1910)
Arrival of a voivode, c. 1907
Oil on cardboard
57,3x84,5
State Tretyakov Gallery, Moscow
Sergey Vasilievich Ivanov (1864-1910)
Arrival of Voivode, c. 1909
Oil on cardboard
Height: 70.0 cm; Width: 90.0 cm
I have no further description, at this time
A voivodeship is the area administered by a voivode (Governor) in several countries of central and eastern Europe. Voivodeships have existed since medieval times and the area of extent of voivodeship resembles that of a duchy in western medieval states, much as the title of voivode was equivalent to that of a duke. More on Voivode
From 1903 to 1910, he taught at the MSPSA. He was also known as an illustrator; creating drawings for classics by Gogol, Lermontov and Pushkin, among others. He died of a heart attack at his dacha near the Yakhroma River. More on Sergey Ivanov
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