(Українська) Його фраза, в результаті стала майже крилатою “Я люблю працю позитивну, математичне знання справи і не визнаю творів – по враженню і творчості – по натхненню”, доводить силу і старанність художника, його любов, перш за все, до академічно правильного малюнку і теорії живопису. Прекрасним прикладом методу детального відтворення натури служить полотно “Портрет юнака з книгою”.
Zaryanko Sergey Konstantinovich
(1818 Lyadov, Babinovski district of Mogilevski region – 1870, Moscow)
Sergei Konstantinovich Zaryanko is one of the prominent Russian portrait painters of his time. In addition to portrait painting, he also wrote interiors and icons for churches. Renowned educator and theorist, S. Zaryanko was author of numerous theoretical works about methods of teaching. One of the most famous became his manuscript “Painting Guide”.
Destiny has not spoiled S. Zaryanko. He has reached his aims with heavy and hard work. As the eldest son of large family after the mother’s death he had to take care of the younger sisters and brothers. The first art lessons young S. Zaryanko has been received in the studio of V. M. Avrorin. His artistic achievements were observed by A. G. Venetsianov. With his support S. Zaryanko was set as free-visiting student to the Academy of Fine Arts, to the class of landscape painting to M. N. Vorobiev (during 1834-1838 ). In 1836 S. Zaryanko was awarded with small silver medal for the work “View of Feldmarshalsky Hall of the Winter Palace”, in 1841 with large silver medal for painting “Recreational Hall at the School of Law”, and in 1843 for his painting “Internal of the Nickolsky Sea Cathedral” he was awarded with the title of academician.
Seven years later, in 1850, presenting portraits of the rotmistr D.V. Khvostov and of the artist F. P. Tolstoy, “for the special skills and excellent knowledge in a picturesque, historical and portrait Art” Master has received the rank of Professor of the 2nd degree. Since 1846 S. Zaryanko – is the tutor. He taught painting in Moscow in Alexandrovsky orphan Institute, “Prospects Arts” in the Palace architectural School. During 1846-1855 the artist taught at St. Petersburg in the Noble Regiment. By the recommendation of F. I. Pryanishnikov in 1856 the artist began teaching at the Moscow School of Painting Sculpture and Architecture. Inspector of the School (1856-1860), Senior Lecturer (1861-1870). From late 1865 to 1870 he lived mainly in St. Petersburg, where he worked on portraits of members of the Imperial family for “Romanovskaya Gallery” in the Hermitage.
His phrase, eventually become almost winged ”I love the positive work, the mathematical knowledge of the case and do not recognize the works – on experience and creativity – for inspiration”, proving the strength and hard work of the artist, his love, above all, to the academically correct drawing and painting theory. An excellent example of the detailed transfer of nature serves represented in the collection canvas “Portrait of young man with book”. The artist in all his portraits could find the individuality of each model. He argued that “accessories have to be finished and heavily prescribed, (…) so that the head was tantamount kind”.
The artist did not need to use any special techniques, to complement the image by attributes, as did many Russian and foreign artists – he simply copied nature, as it is.
S. Zaryanko has painted a plenty of very different persons. Well-known actors and artists, high officials and their wives, merchants and soldiers, young girls from noble families and women of advanced age posed to the artist. Of the most famous paintings there are portraits of such figures as F. I. Pryanishnikov (well-known collector of Russian paintings), O. A. Petrov (renowned opera singer), F. P. Tolstoy (famous painter and sculptor, vice-president of the Academy of Arts), Grand Duke Nicolay Alexandrovich, Princess Trubetskaya and a lot of others.
S. Zaryanko was an excellent portrait painter of his time. And although his name is not as popular as K. Brullov or V. Tropinin, portraits created by him have left a noticeable mark in the Russian painting history. His mathematically precise, almost photographic portraits are bribing with their perfection till nowadays.