Artist Quinji. Maestro Arkhip Ivanovich Kindji. Biography Artist Archka Ivanovich Quinji
It is alleged - in the archives, three passports of the artist are stored: in one of them it was stated that he was born in 1841, in the second - in 1842, and in the third - in 1843.
Not everything is definitely with the name of the artist. He came from the family of Russified Greeks. In the metric it was recorded that he is the son of Ivan Emendji. But the boy, allegedly, got the surname of Grandfather Jewelira Kuyumji, later inscribed in the wrong transcription.
Father Queenji was a shoemaker. In 1845, he died, soon left the life of the archup. Early standing orphans, the boy could not get education. Allegedly up to ten years he visited the initial Greek school, and a year later he entered the contractor for the construction of the church, then he served as a rich germination. It was at this age that his passion for drawing was manifested. One of theeodosian bumps advised the archup to go to learn to Feodosia to the famous Marinist Ivan Aivazovsky. Queenji went to Feodosia on foot, stayed there almost all summer, but the Great Master did not appreciate the talent of a teenager. Therefore, the first lessons of painting Quinji received from the relative of Aivazovsky - Adolf Fesseller. Returning to Mariupol, Kindji began working as a retoucher at the local photographer, and then headed to Odessa, where he thought with his brothers to open his own studio, but could not collect for this necessary funds.
In the early 1860s, he came to St. Petersburg, expecting to enter the Academy of Arts, but did not become a student of the Academy. In 1868, putting a picture for the competition "Tatar village with lunar lighting on the southern coast of Crimea", he received the title of a free artist and became the All-Waller Academy.
In 1872, for the painting "Autumn Rasolot", he received the title of class artist.
In 1873, Queenji put the picture of the "Snow" in society in the society, for which in 1874 at the international exhibition in London received a bronze medal. In the same year, he put his picture in Vienna "View of the island of Valaam", in St. Petersburg - Ladoga Lake.
In 1874, at the exhibition of the partnership of mobile exhibitions, Queenji presented the "Forgotten Village", in 1875 - Painting "Steppe" and "Chumatsky Tract", in 1876 - "Ukrainian Night", which in 1878, together with "View of the island of Valaam" And the "Chumatsky tract" appeared at the World Exhibition in Paris.
In 1877, Queenji became a member of the partnership of mobile exhibitions. In 1878, the artist put his paintings "Forest" and "Evening in Malorusia", in 1879 - "North", "Birch grove", "after a thunderstorm". In the same year, Queenji left the exhibition of the partnership.
In 1880, he arranged in the society to promote arts an exhibition of one of his painting "Night on the Dnieper", which had an unprecedented success, and in the same year was exhibited in Paris.
In 1881, the Kindji was as separately, "Berezova Grove", which had an equally large success, in 1882 - "Dnipro in the morning" with the "birch grove" and "At night on the Dnieper". After this exhibition, until the end of the life of Kindji, no more anywhere in his paintings, but before the 1900s it did not show anyone.
No in the history of talented artists who would have lived ordinary, inexpressive life, complete happiness and success. All because talent is always alone, always ahead of time, always experiences like-minded people. But on a general difficult and tragic background, Queenji's life looks quite successful and happy. But this is only at first glance.
The son of Greek-shoemaker Quinji Archka early remained orply. Greek families are big, therefore the future artist managed to avoid the shelter. He brought up in the uncle's house and did not feel at least something deprived. He did not receive a systematic education, despite the fact that his guardians made efforts that the archup was educated. The boy was interested in only one thing in the world - painting, or drawing. His companions in school desk recalled that nothing could tear the archhar from his beloved classes. As the basis for its artistic experiences, young Queenji used everything that only came across to his eyes: fences, walls, sandy beach, poster stands. There was no time for study.
The family where the archite Quinji was brought up was a large, but completely poor. Therefore, the future great master has learned to work from the most young years. Worked for construction sites, in stores, bakeries. It is in a bakery on his passion for drawing and drew attention to the owner, a friend of guardian. On his advice, the archup is sent to the Crimea, to Aivazovsky to ask for the disciples.
I did not see special departures in the young and arrogant adolescent and offered him to paint the fence and in general help in the housework. There was only the brother of the great marinist to study the archup. He gave a few lessons to young Greek. Three years of stay in the Aivazovsky workshop did not pass meaninglessly. Queenji (a change in the surname was associated with its Turkish sound, which did not simplify the life of the artist in Russia) learned to mix paints and even create his own shades, which caused respect even from the Great Master.
At 17, the archite hinted that it was time to start an independent life. He did so, settled in the workshop to ... photographer! Five years, Queenji diligently retouted negatives from a famous photographer. Successes in this difficult business were so brilliant that the archcoat persistently advised to think about the opening of their own photographer. The businessman from the archup did not work, but the idea was born ...
In 1865, at the age of 24, Quinji leaves for St. Petersburg. He is trying to enter the Art Academy. Unsuccessfully. The next attempt also turned out to be in vain. For the third time, Queenji went on exams, capturing her first independent picture with him. Reception Commission, carefully studied the canvas (the picture was not preserved, only the name is "Tatar sack in the Crimea"), it came to the conclusion that the author could be assigned the title "Free artist". The title gave opportunities, but did not give income. It is known that Quinji accepted into the Academy only two years later.
The academy was not over. As soon as the skill of Quinji was recognized by the public and criticism, the archup was considered to be completed. The 70s of the XIX century became the heyday of the artist's work. Each new job was accepted with an extraordinary admiration. Criticism walked away from delight, the audience Valil the shaft at the exhibition.
It is at this time that a happy marriage of the Quinji on the daughter of a rich merchant, a triumphant connection to the group "Movements", the search for new shades and ways of image of light. It was the ability to transfer light in the paintings of Queenji attracted and surprised most. The artist was the first to suit the mono-exhibition in the darkened halls, having achieved with the help of a striking effects targeting the ray.
The society expected exclusively masterpieces and nothing more. The decade of hard work has exhausted the artist. His picture "Dnipro in the morning" did not cause an excitement, criticism took the job very cool. For Kindji, it was a tragedy. The artist breaks with "Mobile" and stops exposing the paintings. The gate continued 20 years ...
All this time, Queenji works hard, leads a class at the Academy, but does not put a single job. Researchers are still lost in guessing about the reasons for such a long "silence". Different versions are put forward: from a banal creative crisis, to the strenuous searches for their new manner. One thing is known, during this period the artist creates about two hundred sketches, which today is accepted as complete work and flawless samples of Russian impressionism.
At the beginning of the 20th century, "silence" is interrupted. The master exposes several works at once and produces a furor. The last years of the life of the Queenji is unusually saturated. He works at the Academy, often travels to the captivity, is actively engaged in charity.
The whisen of Quinji causes admiration. He finances the working trips of young artists to Europe, establishes scholarships for students of the Academy, creates its own fund. These were years of recognition, fame and well-being.
Queenji died of lung inflammation, which managed to catch the hot summer of 1910 in the Crimea.
(1841-01-27 )artist, master of landscape painting
Archka Ivanovich Kindji. (Ukr. Archka Іvanovich Kyjnzhі 15 (27) January (according to another version), the place of Karasu (Carasevka), now in Mariupol, - 11 (24) of July, St. Petersburg,) - Russian artist, master of landscape painting.
Biography
The Arkhip of Queenji was born in Mariupol, in the family of a poor greek sapoir. Early lost his parents and lived in great poverty, Pace Gusey, served at the contractor on the construction of the church, then a blessing trap; Greek teacher learned in Greek teacher, then attended a city school for some time.
From the early years, Quinji was fond of painting, painted on any suitable material - on the walls, fences and scraps of paper. He worked as a retaucher from photographers in Mariupol, Odessa and St. Petersburg. For five years, from 1860 to 1865, the Arkhip of Queenji worked as a retouusome in Isakovich's photo studio in Taganrog. Queenji tried to open his own studio, but unsuccessfully. He was in the disciples at Aivazovsky, however, was not allowed to the canvas - only a fat paint. After that, Ivanovich leaves Taganrog and leaves for St. Petersburg. Finally, he creates a big picture of the Tatar Sacl in the Crimea, which is exposed to the academic exhibition in the city as a result of Kindji with the third attempt becomes equipped with the Academy. For the painting "Autumn Rasputle", he in 1872 receives the title of class artist. In 1873, Queenji exhibits in the society to promote arts the picture "Snow", for which in the city at the international exhibition in London receives a bronze medal. In the same city, he puts his picture in Vienna "The view of the island of Valaam", in St. Petersburg - Ladoga Lake. In 1874, at the exhibition of the partnership of mobile art exhibitions, Queenji exhibits a "forgotten village", in the city - "Steppe" and "Chumatsky tract", in the city - the famous "Ukrainian night".
Addresses in St. Petersburg
1897 - 11.07.1910 - House Eliseeva - stock line, 18, square meters. eleven.
Outstanding people about A.I. Kindji
The illusion of light was his God, and there was no artist equal to him in achieving this miracle of painting
Powerful Queenji was not only a great artist, but was also a great teacher of life. His private life was unusual, secluded, and only his closest students knew his soul depth. Exactly at noon, he sank to the roof of his house, and as soon as the midday cannon thundered, thousands of birds gathered around him. He fed them out of his hands, these innumerable friends of his: pigeons, sparrow, raven, check box, swallows. It seemed that all birds of the capital flew to him and covered his shoulders, hands and head. He told me: "Come closer, I will tell them so that they are not afraid of you." An unforgettable spectacle of this gray and smiling man covered with shrinking birds; It will remain among the most expensive memories ... One of the usual joys of Queenji was to help the poor so that they do not know where this blessing came from. Unique was his life ...
- Nikolai Konstantinovich Roerich, student A. I. Kindji
Creativity Quinji
Memory
The name of A. I. Kindji was named a children's art school in Mariupol.
Links
- Archka Ivanovich Kindji. "Moonlight Night on the Dnieper"
- Archka Ivanovich Kindji. Biography, paintings, descendants
- Kindji Arkhip Ivanovich. Biography and artist's creativity on artonline.ru
- Archka Queenji. Pictures and biography
- Kindji, Arkhip Ivanovich In the library "Studyer"
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Arkhip Ivanovich Kindji (at the birth of Kuyumji; (15 (27) January 1841, on another version 1842, the place of Karasu (Carasevka), Mariupol County, Ekaterinoslav Province, Russian Empire - 11 (24) July 1910, St. Petersburg, Russian Empire) - Russian artist of Urum descent, master of landscape painting.
The archite Quenji (translated from the Turkic Urum surname Kuyumji means "Golden Affairs Master") was born in Mariupol (modern Donetsk region of Ukraine) in the Karasu quarter, in the family of a poor shoemaker. In the metric, it was the last name Emendzhi - "Labor Man". The boy quickly lost his parents and brought up in aunt and uncle in the father's line. With the help of relatives, the archup learned from the Greek Teacher Greek grammar, then, after domestic sessions, attended a city school for some time. According to the memoirs of comrades, he studied badly, but then then he was fond of painting and painted on any suitable material - on the walls, fences and scraps of paper.
The boy lived in great poverty, so from early childhood hired to work - Pace Gusen, served at the contractor Chabanenko on the construction of the church, where he was entrusted to keep the brick accounting, then served as a blessing officer Amorretti. It was the last (according to another version, it was his familiar, a bull-traded durante) once noticed the drawings of the archup and advised him to go to the Crimea to the famous painter Ivan Konstantinovich Aivazovsky. In the summer of 1855, Queenji came to Feodosia and tried to enter the student to the artist, but he was assigned only to the crowd of paint and paint the fence. Little help in painting was the archite Ivanovich, only a young relative of Aivazovsky, who copied the paintings of the master and the most celebrated from him. After two months of stay in Feodosia, the archup returned to Mariupol, where he began to work the retouchear from the local photographer, but after a few months he went to Odessa, where he again took up retouching. Three years later, in 1860, the young man went to Taganrog, where until 1865 worked as a retouusome in Photo Studio S. S. Isakovich (Petrovskaya Street, 82). At the same time, he tried to open his own photo studio, but unsuccessfully.
In 1865, Queenji decided to enter the Academy of Arts and left for St. Petersburg, however, the first two attempts turned out to be unsuccessful. Finally, he created a picture of the "Tatar sack in Crimea", written under the obvious influence of Aivazovsky, which was put up at an academic exhibition in 1868. As a result, on September 15, the Council of the Academy of Arts honored the Queenji of the title of a free artist. However, only after passing to the Academic Council, he was allowed to take exams on the main and special subjects to obtain a diploma. In 1870, Queenji received the title of not a class artist and with the third attempt became the fulfillment of the Imperial Academy of Arts. At that time, he met the artists-Mobile, including I. N. Kramskaya and I. E. Repin. This acquaintance had a great influence on the work of Quinji, putting the beginning of realistic perception of reality.
The passion for the ideas of the mobileians led Cuinji to the creation of such works as "Autumn Rasputle" (1872, the State Russian Museum, St. Petersburg), for which he received the title of class artist, "Forgotten Village" (1874, State Tretyakov Gallery, Moscow), "Chumatsky The tract in Mariupol "(1875, the State Tretyakov Gallery, Moscow). In these pictures, a social idea prevailed, the desire to express their civilian feelings, so they were written in dark gloomy colors. True, the last picture was distinguished among them and other movement landscapes with a more diverse colorful gamut and complicated colorful solutions, which had somewhat relieved the feeling of gravity and dullness and brought to work a shade of sympathy for the heroes depicted. All these works were exhibited within the framework of the exhibitions of the Mobile Partnership and had a great success. He was talking about Queenji and his works, and he, believing in his strength, stopped attending classes at the Academy.
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russian artist Urum descent, master of landscape painting
Archka Quinji
short biography
Archka Ivanovich Kindji. (at the birth of Kuyumji; (January 27, 1841, according to another version 1842, the place of Karasu (Carasevka), Mariupol County, Ekaterinoslav Province, Russian Empire - July 24, 1910, St. Petersburg, Russian Empire) - Russian artist Urums, master of landscape painting .
Children's and Youth Years
The archite Quenji (translated from the Turkic Urum surname Kuyumji means "Golden Affairs Master") was born in Mariupol (modern Donetsk region of Ukraine) in the Karasu quarter, in the family of a poor shoemaker. In the metric, it was the last name Emendzhi - "Labor Man". The boy quickly lost his parents and brought up in aunt and uncle in the father's line. With the help of relatives, the archup learned from the Greek Teacher Greek grammar, then, after domestic sessions, attended a city school for some time. According to the memoirs of comrades, he studied badly, but then then he was fond of painting and painted on any suitable material - on the walls, fences and scraps of paper.
The boy lived in great poverty, so from early childhood hired to work - Pace Gusen, served at the contractor Chabanenko on the construction of the church, where he was entrusted to keep the brick accounting, then served as a blessing officer Amorretti. It was the last (according to another version, it was his familiar, a bull-traded durante) once noticed the drawings of the archup and advised him to go to the Crimea to the famous painter Ivan Konstantinovich Aivazovsky. In the summer of 1855, Queenji came to Feodosia and tried to enter the student to the artist, but he was assigned only to the crowd of paint and paint the fence. Little help in painting was the archite Ivanovich, only a young relative of Aivazovsky, who copied the paintings of the master and the most celebrated from him. After two months of stay in Feodosia, the archup returned to Mariupol, where he began to work the retouchear from the local photographer, but after a few months he went to Odessa, where he again took up retouching. Three years later, in 1860, the young man went to Taganrog, where until 1865 worked as a retouusome in Photo Studio S. S. Isakovich (Petrovskaya Street, 82). At the same time, he tried to open his own photo studio, but unsuccessfully.
Study at the Academy of Arts. Acquaintance with mobile phone
In 1865, Queenji decided to enter the Academy of Arts and left for St. Petersburg, however, the first two attempts turned out to be unsuccessful. Finally, he created a picture of the "Tatar sack in Crimea", written under the obvious influence of Aivazovsky, which was put up at an academic exhibition in 1868. As a result, on September 15, the Council of the Academy of Arts honored the Queenji of the title of a free artist. However, only after passing to the Academic Council, he was allowed to take exams on the main and special subjects to obtain a diploma. In 1870, Queenji received the title of not a class artist and with the third attempt became the fulfillment of the Imperial Academy of Arts. At that time, he met the artists-Mobile, including I. N. Kramskaya and I. E. Repin. This acquaintance had a great influence on the work of Quinji, putting the beginning of realistic perception of reality.
The passion for the ideas of the mobileians led Cuinji to the creation of such works as "Autumn Rasputle" (1872, the State Russian Museum, St. Petersburg), for which he received the title of class artist, "Forgotten Village" (1874, State Tretyakov Gallery, Moscow), "Chumatsky The tract in Mariupol "(1875, the State Tretyakov Gallery, Moscow). In these pictures, a social idea prevailed, the desire to express their civilian feelings, so they were written in dark gloomy colors. True, the last picture was distinguished among them and other movement landscapes with a more diverse colorful gamut and complicated colorful solutions, which had somewhat relieved the feeling of gravity and dullness and brought to work a shade of sympathy for the heroes depicted. All these works were exhibited within the framework of the exhibitions of the Mobile Partnership and had a great success. He was talking about Queenji and his works, and he, believing in his strength, stopped attending classes at the Academy.
Flowering of creativity (1870s)
However, Kindji was not at all a thoughtless reproduced of the ideas of the heads. Since 1870, the artist has repeatedly visited the island of Valaam, the beloved place of St. Petersburg landscape players, and in 1873 he created two wonderful landscape "on the island of Valaam" (State Tretyakov Gallery, Moscow) and Ladoga Lake (State Russian Museum, St. Petersburg), who became a kind of breakthrough in a moving landscape and to some extent a waste from him. The picture "On the island of Valaam" was allocated to the realistic transmission of nature and the use of romantic elements - alarming lighting, conditioned thunderstorm sky and a mysterious flicker of dusk. The canvas was exhibited at the academic exhibition, then in Vienna and, in the end, became the first picture of Queenji, which I bought for my collection P. M. Tretyakov.
The painting "Ladoga Lake" attracted attention to their attention, in addition to the elegant, light and finely written landscape, the effect of the stony bottom, translucent through transparent water. A loud scandal was connected with her, broken down after ten years: in 1883 a picture of R. G. Sudkovsky "Dead County" appeared, in which the same admission was applied. Queenji accused Sudkovsky in the plagiarism, quarreled with him, although the artists were friends before this case, and demanded that in the press that the "Dead County" in one row with his best works clarified the moment about the copyright of him. Other Petersburg artists were drawn into the scandal, some of whom were on the side of Sudkovsky, others - on the side of Queenji. Kramskaya and Repin openly called the "dead catch" by the "direct borrowing" from Queenji. In the end, the victory was left for Queenji.
In addition to the success of these works, 1873 was marked for the artist the exhibition in the society of encouraging arts of another painting "Snow", for which in 1874 at the international exhibition in London received a bronze medal.
In 1875, the artist visited France, where he was engaged in the order of the wedding trunk with the cylinder. From France, the artist went to Mariupol, where he was married to the daughter of a rich Mariupol merchant faith of Leontyevny Kethergi-Shapovalova, which he loved another young man. After the wedding, the newlyweds went to Valaam. In the same year, at the exhibition of the partnership of mobile art exhibitions, Quinji put the picture "Steppe", and in 1876 - "Ukrainian Night" (State Tretyakov Gallery, Moscow), which caused universal admiration among the public, an unusual, almost decoratively depicted landscape. This work began the so-called "romantic period" in the work of the artist, who was marked by the active creative search for Queenji. The main expressive means was the depthness of space using objects flattening, and the search for new visual funds with the time led to the creation of an original decorative system. In addition, the artist introduced a bright color in painting, based on the system of additional colors, which became the main means of achieving beauty. For Russian art, it became an innovation - a previously similar means was not applied.
In 1875, Queenji took part in the commember of the Movements, but after next year the painter refused the ideas of movement in his paintings. The main thing for him was the desire to not interpret life, like mobile phone, but to enjoy it, its beauties, as well as to some extent "overheeting life according to their ideas about the beautiful." Often this led to the fact that contemporaries, with all the admiration of the artist's talent, it was difficult to give the correct assessment of his work.
In 1878, the works of the artist were presented at the World Exhibition in Paris in the presence of couples, which caused universal admiration for both the public and critics. All noted in his work the lack of foreign influence. The famous critic and defender of Impressionism Emil Durasti called Queenji "The most interesting between young Russian painters, who has more than others, is feeling the original nationality." In the same year, the artist began working on the picture "Evening in Ukraine", over which he worked for 23 years.
In 1879, Queenji presented to the public a peculiar trilogy of Landscapes "North", "Birch Grove" and "After the Rain" (all - the State Tretyakov Gallery, Moscow). Landscapes demonstrated a deep study by the artist Impressionism. And although it did not apply classical impressionistic techniques in his work, the passing of the transmission of the light-air medium in various ways (separation of color dynamic and intermittent smears, intermittentness and ease in the image of the sky and a subtle combination of different colors) was obvious.
On March 21, 1879, A. I. Kindji and M. K. Klodt were elected to the Audit Commission of the Movement Partnership, but by the end of the year the Queenji finally broke with Movie. The reason for the rupture was an anonymous article in one of the newspapers, where the critic responded sharply about the work of Kindji and in general about the partnership of the Movies. In particular, Queenji was accused of monotony, abuse of special lighting when filing pictures and striving for excessive effect. After some time, the name of the critic was known - they were Klodt. Kindji demanded the exclusion of Klodt from the commember of the Movements, but understood that it would not be excluded (Klodt was a professor of the Academy of Arts), he himself announced the exit from the composition of the partnership, despite the fact that he was persuaded to remain. Many researchers (in particular, V. S. Mannin), relying on the memories of I. N. Kramsky about this case, assume that the story with Klodt became for Kindji just a reason to exit the partnership. The rupture itself was being twisted for a long time: Queenji not only confidently went to her way, but also fully realized the degree of its popularity, and his place in Russian and European painting. The mobile partnership was for him in many ways to restrain, limiting his talent with a strict framework, so the gap with him was the matter of time. However, by the end of the life, the artist supported friendly relations with many Movies, was often present at their meetings, and in 1882, at the funeral V. G. Perova, they said a small one, but bright, strong and sincere speech, which was present, according to M. testimony V. Nesterov, listened to a reverent.
One of the consequences of the yield of Cuunchi from the partnership was arranged by him in October - November 1880 in the society of encouraging arts Exhibition of one picture "Moonlit night on the Dnieper" (1880, State Russian Museum, St. Petersburg). The artist very carefully approached the organization of the exhibition: in order to fully convey the beauty and effects depicted in the picture, he draped in the window hall and illuminated the picture with a ray of electric light. The work had an unprecedented success and caused a real excitement among the public: it was struck by new, spectacular color farements, to achieve which the artist conducted experiments with colorful pigments and intensively applied bitumen. Subsequently, it turned out that the asphalt paints are fragile and under the influence of light and air decompose and darken. This feature played its role in the fate of the picture. She dreamed of acquiring many collectors, but Queenji sold it a great prince Konstantin, who took the work with him in a world journey. Many discouraged the Grand Duke from such a decision, but it remained adamant, and as a result, under the action of sea air, the composition of the paints changed, which led to the darkening of the landscape. However, the beauty, depth and power of the picture still feeling the audience. In this picture, elements of the philosophical landscape have already been clearly manifested, which marked the transition of Kindji creativity to a fundamentally different level, where the main desire was not the embodiment of reality on the canvas, and reflections on it and thereby "comprehending the final meaning of things."
Yasure years
In 1881, Queenji arranged a single picture in 1881 - "Birch Grove" (1879, the State Tretyakov Gallery, Moscow), which had the same success, and in 1882 he submitted to the public a new picture "Dnipro in the morning" (1881, State Tretyakov Gallery, Moscow) . However, this work was adopted by the public surprisingly skeptical and even with some cool. In June of the same year, Kuenji's exhibition arranged in the Solodovnikovsky Passage at Kuznetsky Bridge - "Birch Grove" and "Moonlight Night on the Dnieper", after which "fell silent" for twenty years, retaining in his workshop and no one showing his works. Until the end, the reasons why the artist, being at the peak of Glory, decided to have a similar pickup, but, apparently, he was simply tired of the hype, which accompanied each exhibition: after all, along with enthusiastic assessments and opinions he had to hear And various accusations of their address - up to the desire to cheap effects and the use of hidden illumination of paintings to give them a mysterious view. The public and critics believed that Queenji had exhausted himself, but it was not the case: the painter continued to work tirelessly in different styles, while simultaneously looking for new pigments and ground bases for paints so that they were resistant to the effect of the air environment and maintain their initial brightness. During these years, they were created about five hundred sketches and full-fledged picturesque works, many of which were united by the artist in the example of impressionists in thematic series, and about three hundred graphic works.
In 1886, the artist bought a plot for 30 thousand rubles in the Crimea of \u200b\u200b245 tenthene near the village of Cycenez and first lived there with his wife was secluded in a halary. Over time, there was a small estate of Sarah Cycenez in this area, where Quinji often came to their students to conduct summer practice at the Plenuel.
In 1888, Queenji at the invitation of an artist-Mobile artist N. A. Yaroshenko visited the Caucasus, where they witnessed the rarest mining phenomenon - the Broken Ghost (reflections of their increased figures on the rosy-colored cloud). Upon returning to St. Petersburg, the painter created a number of beautiful mountain landscapes, in which his romanticism was finally merged with the philosophical scenery. The main feature of the paintings was the idea of \u200b\u200bthe Caucasus as a symbol of some ideal and unattainable country. Some researchers believe that these canvases and the image of the Caucasus were inspired by N. K. Roerich to the creation of Himalayan landscapes.
In 1901, Queenji violated the gate and showed his disciples, and then some friends four pictures - the completed "Evening in Ukraine" (State Russian Museum, St. Petersburg), "Christika in the Garden of Garden" (1901, Vorontsovsky Palace-Museum, Alupka ), the third version of the "birch grove" (1901, the National Art Museum of the Republic of Belarus, Minsk) and the already well-known Dnipro in the morning. As before, the canvas led viewers delight, and about the artist again spoke. In November of the same year, the last public exhibition of the painter works was arranged, after which no one had seen his new pictures to his very death. This time, eyewitnesses of the exhibition tried to explain such an act of a fear of the artist before the skeptical attitude of some visitors to the exhibited works, but this explanation has satisfied little.
Last years of life. The death of the artist
Mogila A. I. Kindji at the Tikhvin Cemetery in the Alexander Nevsky Laurel (St. Petersburg)
The last decade of life was marked for Kindji by creating such masterpieces as "Rainbow" (1900-1905, the State Russian Museum, St. Petersburg), sketches and etudes to which he began to write at the end of the XIX century, "Red Sunset" (1905-1908, Metropolitan Museum, New York) and "Night" (1905-1908, State Russian Museum, St. Petersburg). In the last picture, the memories of the artist about childhood and addiction to the contemplation of the sky were connected, and the manner of execution was forced to remember the best early work of Kindji.
From 1894 to 1897, Quinji was a professor of the head of the landscape workshop of the Supreme Art School at the Academy of Arts.
In the summer of 1910, being in the Crimea, Queenji got sick inflammation of the lungs. With the permission of doctors, the wife transported the artist to St. Petersburg, but, contrary to the hopes for recovery, the disease progressed - the sick heart of Queenji affected. The archite Ivanovich Kindji 11 (24) of July 1910 in St. Petersburg and was buried in the Smolensk Orthodox Cemetery. The bronze bust of the artist and the tombstone is installed on the grave - the granite portal with a mosaic panel depicting the mythical tree of life on the branches of which the snake nest. The edges of the panel were framed by carvings in the style of ancient Vikings. In the creation of the tombstone, A. V. Schusev (project), V. A. Beklemishev (Bust) and N. K. Roerich (sketch of panels), the Mosaic itself was recruited in the workshop V. A. Frolov. In 1952, the dust and tombstones were postponed to the Tikhvin cemetery of the Alexander Nevsky Lavra.
All its capital, the artist visited the Kindji society, based on his initiative together with K. Ya. Kryzitsky in November 1908 to support artists. An annual pension in the amount of 2 500 rubles was appointed his wife. In the will, the artist's relatives were also mentioned at that time, part of the money was donated to the church, in which he was baptized, for the founding of the school of his name.
Vera Leontievna Quinji died in ten years in Petrograd in 1920 from hunger.
Charity
When recognition and glory came to Queenji, and his paintings began to acquire for a lot of money, the artist bought in St. Petersburg at Vasilyevsky Island, renovated, repaired and until the end of his life used him with a profit, passing apartments (address - 10th line, d . № 39, the house was built in 1876-1877 by the architect by E. F. Kruger for the merchant N. S. Lvov, Kindji was acquired in 1891). At the same time, he himself lived with his wife very modestly, most of the fees for the paintings and profits from his home by giving up for charity. So, in 1904, Queenji brought to the gift of the Academy of Arts 100,000 rubles for issuing 24 annual awards, and in 1909 sacrificed the Society of Artists named after A. I. Kindji 150,000 rubles and their estate in the Crimea. In the same 1909, he donated to the imperial society of encouraging arts of 11,700 rubles for a premium on landscape painting.
At the request of the Taganrog Society for the study of the local region and the local antique, the Kindji Society after the death of Ivanovich's arch come as a gift to the Taganrog Museum of the Master "Rainbow" and "Waves." Today in the collection of the Taganrog Art Museum, in addition to these works, two more works are stored - "Sea at night" and "Forgotten Village". In 1914, representatives of this society at the opening of the Ekaterinoslav art gallery (now the Dnepropetrovsk Art Museum) presented her several artist etudes belonging to the 1880-1900 years and unknown to the general public. Each of these etudes over time is the basis of large cloths: Etude "After the Thunderstorm" was preceded by the painting "Village", "Mountains" - the picture "Snowy peaks. Caucasus "(1890-1895, State Russian Museum, St. Petersburg), and" Cloud over the Steppet "turned into a" cloud "(1898-1908, State Russian Museum, St. Petersburg).
Addresses in St. Petersburg
- 1870-1880 - Mansion N. P. Robelinki - Vasilyevsky Island, Small Avenue, No. 16, Apartment No. 4 (with a workshop). Here Quinji wrote a "lunar night on the Dnieper" and "Birch grove". In the autumn of 1877, I. E. Repin, having arrived at some time from Moscow to the capital, he stopped in this apartment and wrote a portrait of A. I. Quinji in a few days.
- 1897 - 07/11/1910 - Profitable House of merchants Eliseev - Vasilyevsky Island, Birzheva Lane, House No. 1, Apartment No. 11 (The house in the plan has the form of an incorrect quadrilateral, its other addresses: stock line, No. 18; Volkhovsky Lane, d. No. 2; Embankment Makarova, No. 10). In this house there is a museum of A. I. Kindji.
Statements about A. I. Kindji
The illusion of the world was his God, and there was no artist equal to him in achieving this miracle of painting.