Kryzhitsky Konstantin

Landscape with an rustic house 17х23,5 сm, oil on board, 1911

Kryzhitskiy Konstantin Yakovlevich
(1858, Kyiv – 1911, St. Petersburg)

Not an easy fate endured by a beautiful painter, master of Russian landscapes, Konstantin Yakovlevich Kryzhitskiy.

He was born in a happy family of dealer and trader, and soon there were noticed artistic abilities, and in the years 1875-1876 he entered Kiev drawing school, where his teacher was N.I. Murashko. Later, contrary to the will of the father, without the slightest means for livelihood K. Kryzhitsky left to enter the St. Petersburg Academy of Arts, where he studied in 1877-1884 in the landscape class of M. K. Klodt.

In 1884, for the program “View in Kiev province” K. Kryzhitskiy was entitled with the rank class artist of the 1st degree, and in 1889 for his picture “Forest gave” was awarded with the title of academician. He lived and worked in St. Petersburg, taught drawing in the Nicholas Institute for orphans. The artist traveled to Russia and to the Baltic States, in 1890, traveled to Germany and France. Since 1891, he was the exhibitor of the Association of the moving Exhibitions (“peredvizhniki”). K. Kryzhitskiy been friends with I.I. Shishkin, and A. I. Kuindzhi. He was responsive to the achievement of other contemporary artists, who, incidentally, were not avoided his creativity with their attention.

He wrote a lot of studies, more and more began to bring his lighting effects. He could quickly, just touching the canvas write the sunset, and at the same time, in the forest Etude drawn every grass. K. Kryzhitsky sought to make a poem of solar lights, sometimes a bit “kill” the brightness of the sun that covered the entire landscape with the “pinkish cozy cover”. Trying to find a “niche” in Russian diverse landscape, K. Kryzhitsky was looking for unusual landscapes and themes. So there began to appear sea species, the Baltic, the distant mountains and islands of Norway, night scenery.

At the beginning of the XX century, the preferences of the audience began to change: some have remained loyal to their idol like N. Dubovskiy and others – have become progressively away from realism toward “the world of art” and other art associations. This lack of public appreciating commented hurt in the soul of the artist. Since the end of the first decade of XX century, K. Kryzhitsky, wishing, again, find something special, began organizing activities. Through his initiative, organize society of A.I. Kuindzhi – a major art association in pre-revolutionary Russia. He has written and the statute, and the program of the society. After A. Kuindzhi refused to be the chairman, was unanimously elected K. Kryzhitskiy.

The artist painstakingly searched for a theme of his best paintings, but also affects the uncertainty of the strength, in disbelief that it has finally been appreciated. Perhaps, therefore, he did not despise the photos, which were distributed among the artists who are trying to find the notorious paintings expressive way of nature, look at nature through the eyes of the photographer, just to share with him responsibility for the selection of the theme. Whatever the case, but in the case of a picture “Blow Spring” K. Kryzhitskiy has loosed his nerves, when a wave of media bias, severely malevolence and accusing him not to use photographs, but plagiarism simply because of the same photograph has written a number of paintings by artist J. Brovar. The neglect public resentment of the Academy of Fine Arts led to K. Kryzhitskiy final and lost faith in himself and his audience. The history of the painting “Blow Spring” has broken it definitively. In a fit of desperation artist has committed a suicide. It was a duel of the artist with the community in which all the chances were on the side of the latter.

The artistic legacy of the artist has more than 400 paintings and almost 2000 studies, held in numerous private and museum collections in Russia and abroad.

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