It is known that the great Russian artist, Pavel Fedotov, has many works that have become masterpieces in which he portrayed himself. Each self-portrait of Fedotov is different from the other, because on one canvas the artist wrote about his youth, another self-portrait contains a picture of a young officer who was awarded an honorary medal.
In 1861, one of the greatest Russian masterpieces of the time saw the light - a painting by Valery Jacobi “The Rest of Prisoners”. The work is frank, sharp and topical. Such a blatant expression of one’s own thoughts is characteristic of the 60s of the 19th century. Actual problems of society, like abscesses, are revealed by the artist on canvas.
Roerich is not only an artist, but also the ideological inspirer of the “Roerich Pact” - a document that prescribes the inviolability of historical and cultural monuments of the whole world in any situation, including war. The sign of the pact is the so-called “Banner of Peace”, which consists of three red circles enclosed in one large circle.
Shishkin loved to paint landscapes. But a special feature of the artist was that he tried to diversify each of his paintings, to present it from a completely new angle, so that the viewer would not get bored, considering a number of paintings about nature. Indeed, some people get bored when looking at canvases with images of trees or plants, but how is this possible, because nature is the perfection that a person can never achieve.
The painting “The Resurrection of Jairus's Daughter” was created by Polenov in 1871. She was written to participate in a competition held by the art academy and was a contender for a gold medal. At the same time as Polenov, Repin wrote a canvas on the same topic, which critics paid more attention to, but they noted that Polenov’s painting looks very vital and is in no way inferior to the opponent’s creation in the selection of colors and composition.
Dated in 1938. Lithograph, dimensions: 47.5 by 27.9 cm. This is the work of the famous Dutch graphic artist, known for complex conceptual engravings and lithographs, which are largely intertwined with mathematics, geometry and the desire to embody impossible realities. He consciously chose the path of an engraver, not an oil painter, because of his interest in the possibility of accurately copying images.