This paper discusses the social morality and responsibility that painters should bear from the birth and achievements of Russian critical realism painting school-Russian "roving painting school" in th

This paper discusses the social morality and responsibility that painters should bear from the birth and achievements of Russian critical realism painting school-Russian "roving painting school" in the19th century. 1863, a group of talented senior students in the Academy of Fine Arts were dissatisfied with the tradition that only myths and biblical themes were allowed to be painted, so they quit the Academy of Fine Arts and organized themselves to study realistic painting art, and established the "Free Painters Association" in Petersburg. 18.

Pulling boats on Volga River

Founded in 70 by Moscow painters Myasoyedov and Pirov, and responded by St. Petersburg painters Krams Coy and others, the All-Russian Art Touring Association was established.

When the organization was founded, there were 15 painters who signed the articles of association, including Pirov, Kramskoi, Mi Soyedov, shishkin, Gai Yi and others. This association broke the pattern that art exhibitions were only held in Petersburg and Moscow at that time, and constantly exhibited in other provinces, so it was called "roving exhibition school". 187 1 In June, they held their first exhibition of paintings in St. Petersburg, and then they held roving exhibitions in different regions almost every year during their 53 years of existence.

"Mobile painter" advocates facing the reality, advocating that art should be ideological, and painting art should participate in the transformation: the struggle of real life. Their paintings not only expose and satirize the Russian ruling class, but also show the miserable life of the urban and rural poor and shape a number of revolutionary images fighting for a new life.

During the 1970s and 1980s, roving exhibition schools experienced the most prosperous period. Outstanding painters have joined this organization, and representatives in the history of Russian painting, such as Lie Bin, Surikov, Vasnetsov and Yaroshenko, are members of this organization. The roving art exhibition association has become an important institution in Russian painting, while academic art has completely retired to a very secondary position.

Kramskoyhan (1837— 1887) lives in Petersburg.

Unknown girl

The school of surgery has received strict basic training and has the wisdom of drawing inferences from others. Believing that art should serve the people, as a insightful figure, he soon became the leader of young artists who demanded progress. In the second exhibition of the Touring Association, he exhibited Jesus in the Desert, which reflected the tragic pursuit of Russian intellectuals.

"Unknown Girl" shows a typical intellectual female image of Russian upper class. Sitting in the carriage, her Gherardini face hides arrogance that keeps people away. She is wearing an expensive and elegant fashionable coat and a hat decorated with feathers, which is a symbol of her status and a reflection of her psychology and personality. The outline of the huge building of Alexandria Opera House in Petersburg faintly visible in the distance seems to tell people that she is the star of this famous opera house. However, her dignity and self-esteem will also remind people of the tragic master in Tolstoy's masterpiece Anna karenin.

Kramskoi's portrait has obvious characteristics of the times. His portrayal of Tolstoy shows the anxiety of intellectuals under the czar and their yearning for a better future.

For oil painting, works without philosophy are pale works; Without philosophy, it is like a person without mind and soul. The realistic masters and righteous artists of the wandering painting school, their artistic images are not limited to perceptual forms, but through concrete and perceptual images (such as direct, concrete and superficial images of lines, colors, light and shade) to reproduce profound rational content, that is, indirect, profound and essential philosophy in painting, which we can clearly see from the works seen above.

In creation, the painters of the roving school follow Chernyshevski's aesthetic thoughts and strive to truly reflect Russian social life with pure oil painting skills and distinctive painting language. Their works have strong democratic thoughts and tendencies. Because of the great difference and fierce collision between reality and ideal in his works, the roving exhibition of paintings became an important part of the critical realism movement in Russian literature and art in the late19th century, which was deeply loved and supported by the people. With its rich and thought-provoking ideological connotation, the roving school spread the seeds of revolution and profoundly influenced the artistic development of socialist countries such as the Soviet Union.

At present, western modernism and post-modernism unilaterally publicize subjectivity and reject objectivity, which will inevitably lead to a dead end. For us, the recipients and participants of modern and contemporary art in China, it is extremely urgent and necessary to construct our own aesthetic values from a country with profound historical and cultural accumulation and realistic tradition by re-understanding the realistic art works represented by the roving painting school in the second half of the 9th century. [ 1]?