). However, for the purposes of this article we will only consider object art.

Historically, all genres were divided into high and low. TO high genre or historical painting included works of a monumental nature, carrying some kind of morality, a significant idea, demonstrating historical, military events associated with religion, mythology or artistic fiction.

TO low genre included everything connected with everyday life. These are still lifes, portraits, household painting, landscapes, animalism, images of naked people, etc.

Animalism (lat. animal - animal)

The animalistic genre arose in ancient times, when the first people painted predatory animals on the rocks. Gradually, this direction grew into an independent genre, implying an expressive depiction of any animals. Animalists usually have a great interest in the animal world, for example, they can be excellent equestrians, keep pets, or simply study their habits for a long time. As a result of the artist's intentions, animals can appear realistic or in the form of artistic images.

Among Russian artists, many were well versed in horses, for example, and. Yes, on famous painting Vasnetsov's “Bogatyrs”, heroic horses are depicted with the greatest skill: the colors, behavior of the animals, bridles and their connection with the riders are carefully thought out. Serov did not like people and considered horses in many ways better than man, which is why he often portrayed her in a variety of scenes. although he painted animals, he did not consider himself an animalist, so bears were his famous painting"Morning in pine forest” was created by the animalist K. Savitsky.

In tsarist times, portraits with pets, which were dear to man, became especially popular. For example, in the painting, Empress Catherine II appeared with her beloved dog. Animals were also present in the portraits of other Russian artists.

Examples of paintings by famous Russian artists in the everyday genre

History painting

This genre involves monumental paintings that are designed to convey to society a grandiose plan, some truth, morality, or demonstrate significant events. It includes works on historical, mythological, religious themes, folklore, as well as military scenes.

In ancient states, myths and legends were long considered events of the past, so they were often depicted on frescoes or vases. Later, artists began to separate the events that took place from fiction, which was expressed primarily in the depiction of battle scenes. In Ancient Rome, Egypt and Greece, scenes of heroic battles were often depicted on the shields of victorious warriors in order to demonstrate their triumph over the enemy.

During the Middle Ages, due to dominance church dogmas Religious themes prevailed; during the Renaissance, society turned to the past mainly for the purpose of glorifying its states and rulers, and since the 18th century, this genre was often turned to for the purpose of educating youth. In Russia, the genre became widespread in the 19th century, when artists often tried to analyze the life of Russian society.

In the works of Russian artists, battle painting was presented, for example, and. He touched on mythological and religious subjects in his paintings. History painting dominated by , folklore - by .

Examples of paintings by famous Russian artists in the genre of historical painting

Still life (French nature - nature and morte - dead)

This genre of painting is associated with the depiction of inanimate objects. They can be flowers, fruits, dishes, game, kitchen utensils and other objects, from which the artist often creates a composition according to his plan.

The first still lifes appeared in ancient countries. IN Ancient Egypt It was customary to depict offerings to the gods in the form of various dishes. At the same time, the recognition of the object came first, so the ancient artists did not particularly care about chiaroscuro or the texture of still life objects. IN Ancient Greece and in Rome, flowers and fruits were found in paintings and in houses for interior decoration, so that they were depicted more authentically and picturesquely. The formation and flourishing of this genre occurred in the 16th and 17th centuries, when still lifes began to contain hidden religious and other meanings. At the same time, many varieties appeared depending on the subject of the image (floral, fruit, scientist, etc.).

In Russia, still life painting flourished only in the 20th century, since before that it was used mainly for educational purposes. But this development was rapid and captured, including abstract art with all its directions. For example, he created beautiful compositions of flowers in, preferred, worked in, and often “revitalized” his still lifes, giving the viewer the impression that the dishes were about to fall off the table or that all the objects were about to start rotating.

The objects depicted by artists were, of course, influenced by their theoretical views or worldview and state of mind. Thus, these were objects depicted according to the principle of spherical perspective discovered by him, and expressionist still lifes amazed with their drama.

Many Russian artists used still life mainly for educational purposes. So, not only honed artistic skill, but also conducted many experiments, arranging objects in different ways, working with light and color. experimented with the shape and color of the line, sometimes moving away from realism into pure primitivism, sometimes mixing both styles.

Other artists combined in still lifes what they had previously depicted with their favorite things. For example, in the paintings you can find his favorite vase, sheet music and a portrait of his wife that he had previously created, and he depicted his favorite flowers from childhood.

Many other Russian artists worked in the same genre, for example, and others.

Examples of paintings by famous Russian artists in the still life genre

Nude (French nudite - nudity, abbreviated as nu)

This genre is intended to depict the beauty of the naked body and appeared before our era. IN ancient world great attention paid physical development, since the survival of the entire human race depended on it. So, in ancient Greece, athletes traditionally competed naked so that boys and young men could see them perfectly. developed bodies and strived for the same physical perfection. Around the 7th-6th centuries. BC e. Nude male statues also appeared, personifying the physical power of a man. Female figures, on the contrary, always appeared before the audience in robes, since to expose female body was not accepted.

In subsequent eras, attitudes towards nudity changed. Thus, during Hellenism (from the end of the 6th century BC), endurance faded into the background, giving way to admiration of the male figure. At the same time, the first female nude figures began to appear. In the Baroque era, women with curvy figures were considered ideal; in Rococo times, sensuality became paramount, and in the 19th-20th centuries, paintings or sculptures with naked bodies (especially male ones) were often banned.

Russian artists have repeatedly turned to the nude genre in their works. So, these are dancers with theatrical attributes, these are posing girls or women in the center of monumental scenes. This has a lot of sensual women, including in couples, this has a whole series of paintings depicting naked women in various activities, and this has girls full of innocence. Some, for example, depicted completely naked men, although such paintings were not welcomed by the society of their time.

Examples of paintings by famous Russian artists in the nude genre

Landscape (French Paysage, from pays - terrain)

In this genre, the priority is the depiction of natural or man-made environment: natural areas, views of cities, villages, monuments, etc. Depending on the chosen object, natural, industrial, marine, rural, lyrical and other landscapes are distinguished.

The first landscapes of ancient artists were discovered in Neolithic rock paintings and were images of trees, rivers or lakes. Later, the natural motif was used to decorate the home. In the Middle Ages, the landscape was almost completely replaced by religious themes, and in the Renaissance, on the contrary, they came to the fore harmonious relationships man and nature.

In Russia landscape painting developed from the 18th century and was initially limited (landscapes, for example, were created in this style), but later a whole galaxy of talented Russian artists enriched this genre with techniques from different styles and directions. created the so-called low-key landscape, that is, instead of chasing spectacular views, he depicted the most intimate moments in Russian nature. and came to a lyrical landscape that amazed the audience with its subtly conveyed mood.

And this is an epic landscape, when the viewer is shown all the grandeur of the surrounding world. endlessly turned to antiquity, E. Volkov knew how to turn any discreet landscape into a poetic picture, amazed the viewer with his marvelous light in the landscapes, and could endlessly admire forest corners, parks, sunsets and convey this love to the viewer.

Each of the landscape painters concentrated his attention on the landscape that fascinated him especially strongly. Many artists could not ignore large-scale construction projects and painted many industrial and urban landscapes. Among them are works by other artists. fascinated by the monuments, and

Animalistic genre (lat. Animal - animal) - depiction of animals in painting, sculpture, graphics.

Combines natural science and artistic principles, develops observation and love for nature.

Animals in painting and graphics arouse the same interest among viewers as portraits famous people. And this is no coincidence. When in the Paleolithic era, more than 30 thousand years ago, people began to depict animals on rocks, it began world art. The tradition of preserving images of domestic animals, as well as animals and birds considered sacred, is also rooted in the deep past. Bas-reliefs of dogs, lions, bulls and horses have reached us ancient Assyria, bas-reliefs and frescoes with dogs, cats, ibises, crocodiles, baboons, snakes, jackals, falcons of Ancient Egypt, ceramics with drawings of dogs and horses of Ancient Greece and Ancient Rome, sculptures of jaguars, snakes and other animals among the Aztecs and Mayans. The depiction of animals in Ancient China.

The European aristocracy became interested in animalism during the Renaissance. From those times until the twentieth century, many portraits depicted a person with an animal to which he was attached. The Russian elite also showed interest in animalism. IN Historical Museum several years ago, portraits of dogs given to Russian tsars were exhibited. Count Orlov collected a collection of portraits of his greyhounds and horses. Interest in animalism in a realistic manner has developed in the USA - the works of many animal artists are exhibited at exhibitions held there.

Animalist (from Latin animal - animal)- artist, graphic artist, sculptor, photographer, who mainly devoted his work to depicting animals. An animalist works in the animalistic genre. This is such a genre visual arts, the main subject of which is animals. The main task of an animalist can be both the accuracy of the image of the animal and artistic and figurative characteristics, including decorative expressiveness or endowing animals with traits, actions and experiences inherent in people (for example, fables).

Animal artist focuses on the artistic and figurative characteristics of the animal, its habits, and its habitat. The decorative expressiveness of the figure, silhouette, and colors is especially significant in park sculpture, paintings, and small sculptures. Often, especially in illustrations for fairy tales, fables, in allegorical and satirical images, the animal is “humanized”, endowed with traits, actions and experiences inherent in people. Often the main task of an animalist is the accuracy of the image of the animal, for example, in illustrations for scientific and popular science literature. From sculpture, animalistic ceramics are widespread.

The animal world is infinitely diverse and colorful. How brightly colored, for example, the feathers of many birds are, how colorful the wings of butterflies sparkle. But drawing animals is not so easy; they won’t pose. The animalist has to diligently observe and study their habits and character.

Famous animalists:

Yi Yuanji (c. 1000 - c. 1064) was a Chinese artist especially known for his skill in painting monkeys.

Zhu Zhanji (1398-1435) - Chinese emperor and master of drawing dogs and monkeys.

Frans Snyders (1579-1657) - Flemish painter.

Jan Feith (1611-1661) - Flemish artist and engraver.

Paulus Potter (1625-1654) - Dutch painter.

David Koninck (1636-1699) - Flemish painter.

Karl Kuntz (1770-1830) - German painter and engraver.

Eugene Delacroix (1798-1863) - French painter and graphic artist.

Pyotr Klodt (1805-1867) - Russian sculptor.

Philippe Rousseau (1816-1887) - French painter.

Brighton Riviere (1840-1820) - English painter.

Franz Marc (1880-1916) - German expressionist painter.

Vasily Vatagin (1883-1969) - Russian painter and sculptor.

Evgeny Charushin (1901-1965) - Russian graphic artist, Honored Artist of the RSFSR.

Konstantin Flerov (1904-1980) - Russian paleontologist, graphic artist and painter, Doctor of Science.

Nikolai Kondakov (1908-1999) - Russian biologist, illustrator, candidate of sciences.

A few words about some of them:

Christophe Drochon

Born in France, on the outskirts of Paris, in 1963, his talent as an artist was not immediately noticed. Christophe's schoolteacher even told his mother that her son would never achieve great success in painting. But this did not cool his passion for art - Drochon enthusiastically devoted all his free time to independent painting and, thanks to his talent and hard work, proved that the school teacher was wrong. The future artist spent his childhood in Paris, he did not see wildlife and knew nothing about the natural habitat of wild animals. But when Christophe went to school, his family settled near the Vincennes Zoological Park, and in the summer they traveled to the southwest of France. There he spent a lot of time carefully observing animals and making sketches. His interest in nature grew, and his observations taught him to deeply understand and empathize with animals. Drochon's stunning works, his skill and technique for realistically depicting animals delight and fascinate nature lovers. However, his depiction of animals is different from the usual. In his works, animals and landscape always serve as symbols to express the artist's ideas and illustrate his emotional state. He tries to convey to the viewer an awareness of the impermanence of the world. In many of his drawings, the eyes of animals are very expressive, which makes the essence of living nature more tangible and brings us closer to self-knowledge.

Sonia Reid

Born in the USA in Cullman in 1964. She studied at Auburn University. In 1988, she successfully graduated from Winfrop College with a Bachelor of Noble Arts degree and worked as an interior designer for 8 years. Sonya has always loved animals and enjoyed the beauty of nature. Deciding to devote all her time to depicting them, she leaves for Africa. Having visited the famous Ngoro-Ngoro crater in Tanzania, Sonya fell in love with the nature of this continent. Africa became her passion. In her oil and graphite paintings, she tries to show everything that touched her soul and encourage viewers to protect and glorify wild nature. Her paintings have won numerous awards at numerous exhibitions. Another passion of the artist is photography and collecting books about Africa and its nature.

Dan D. Amico

Dan lives in a mountain valley near Rocky Mountain National Park in Colorado. Dan's interest in art began very early. He spent so much time drawing horses and rabbits that his parents, in an attempt to save paper, gave him a chalk board. While studying at High school arts, Dan developed an interest in impressionism. He felt a special kinship with the art of Claude Monet and admired the art of Andre Vieta, whose style greatly influenced Dan’s further work. Originally self-taught, Dan completed a master class with Robert Bateman in 1991 and then studied with renowned artist Bob Kuhn, because. believes that an artist must learn, grow and experiment throughout his life. One of the main tasks of an artist, according to Dan, is to share the beauty of the world around him. He says, “If I can move someone to appreciate the play of light on damp autumn grass, I feel like I can touch their soul. The viewer cannot experience a moment of inspiration, he can only come into contact with the picture, passing it through his own sensations.” Dan tries to create a mood by evoking reciprocal feelings or memories. In his works he tries to truthfully convey not only appearance animal, but also its feelings. In 1991, Dan was elected a member of the Animal Artists Organization.

animal painting canvas

Nikolai Nikolaevich Kondakov

Born in 1908 in the city of Ryazan. After graduating from school, he entered the biology department of Moscow State University. Labor activity started while still a student at the Murmansk Biological Station. After graduating from university, he worked in many research institutes Vladivostok, Moscow and Leningrad. In the 20s of the 20th century he defended his PhD thesis on the study of squid. He took part in many expeditions. His main contribution to biological science was his drawings. various representatives fauna. These illustrations were included in many publications, such as TSB, the Red Books of the USSR, the RSFSR, in animal atlases, in teaching aids. In total, Kondakov made several tens of thousands of drawings during his life.

Flerov Konstantin Konstantinovich

Evgeniy Ivanovich Charushin

(October 29 (November 11, old style) 1901, Vyatka, now Kirov - February 18, 1965, Leningrad) - Soviet graphic artist, sculptor and writer. Honored Artist of the RSFSR (1945). The son of the architect I.A. Charushina.

Vasily Alekseevich Vatagin

(1883/1884 - 1969) - Russian and Soviet graphic artist and animal sculptor. People's Artist RSFSR (1964). Full member of the USSR Academy of Arts (1957). Winner of the Stalin Prize, third degree (1952). Professor of the Moscow Higher Art and Industrial School (formerly Stroganov School).

Literature

1. website dic.academic.ru

Encyclopedia "Around the World"

Vatagin V.A. Image of an animal. Notes of an animalist. - M.: Svarog and Co., 1999.

Dixon D. Dinosaurs. Illustrated encyclopedia. - M.: Moscow Club, 1994.

Komarov A. Stories of an old devil. - M.: Armada, 1998.

Smirina V. and Yu. Animals in nature. - M.: Armada-Press, 2001.

Art: business or destiny?
Animalistics, - animalistic painting and animalistic drawing, -
despite other artistic projects, continues to remain
one of Marina Efremova’s favorite genres. And it’s no coincidence that exactly
animalism has become main theme interview "Pictorial Energy",
which journalist Olga Volkova took from Marina Efremova.

"Animal painting exhibition as an artistic and educational event"
Art critic Nikolai Efremov. Report at a scientific and practical conference,
dedicated to the 125th anniversary of Vasily Alekseevich Vatagin
(February 5, 2009 - State Tretyakov Gallery;
February 6, 2009 - State Darwin Museum)

Below are some animal paintings Marina Efremova, written in 1999-2010. Some of them are in private collections, some are in the artist’s collection.
Paintings with dogs: “Vaska the Basset Hound”, “Lying Yorkie”, “Portrait of the Yorkshire Terrier Lucky”, “White Guardian (Dogo Argentino)”, “Black Guardian (Rottweiler)”, “Yorkie Tofik”, “Yorkie Manya”, "Yorkie Chink", "Portrait of Timony", "Husky Team", "Mongrels", " Late fall", "Greyhounds in a field", "Portrait of a German Shepherd", "Pugs", "Portrait of a Rottweiler", "St. Bernard Vanessa", "Puppy with a hare", "Boxer Puppy", "Basset Hound Archie".
Paintings with cats: “Cat Timych”, “Cat Gray”, “Cat Zhulka”, “Cat Murash”, “Black Keeper of the Hearth”, “White Keeper of the Hearth”, “Red Cat”.
Paintings with horses: “Black Horse”, “Bay”.
Paintings with wild animals: “Portrait of a Gorilla”, “Waiting (Portrait of a Wolf)”, “Portrait of a Tiger”, “White Tiger”, “Old Wolf”, “Last Dash”, “Buffalo Head”, “Mandrill”, “Portrait of a Lioness” ", "Lion and Falcon", "Orangutan", "Black Jaguar", "Belek", "Fox", "Wolf", "Portrait of a Wolf".
Paintings with birds: “Eagle”, “Ibis”, “Blue-and-yellow macaw”, “Kafian horned raven”.

The name of this genre comes from the Latin word “anima” - “animal”. It includes works of painting, sculpture, graphics, decorative and applied and folk art depicting animals. An animal artist must combine great love and sensitivity to nature with the observational powers of a scientist.

The animal world was of great importance in the life of primitive man. The most ancient artists left colorful drawings of deer, bison and mammoths on the walls of caves, which even today amaze with their authenticity. In the 1st millennium BC. e. magical figurines of birds and animals made of clay, metal, and bone gave rise to the so-called animal style in the art of the Scythian tribes from the Carpathians to the borders of Western China. The spontaneity of living form, combined with the ornamentation of compositions, will remain in decorative and applied creativity many peoples.

Images of animals reach unsurpassed monumentality and grandeur in Ancient Egypt. After all, the Egyptians considered many animals to be gods. Sphinxes, humanoid deities with the heads of animals and birds, embodied the connection between human and animal principles in nature. The same idea of ​​the unity of the world prompted the ancient inhabitants of Peru and Mexico to combine figures of people and animals into bizarre groups in the decoration of decorative vessels.

IN Ancient Japan and Ancient China, images of animals became a common motif in decorative and monumental compositions. The most essential in each image is invariably noted. The main achievement of the art of ancient Crete was the dynamism that permeated all generalized images - from a bull to flying fish. In the countries of Ancient Mesopotamia, figures and heads of bulls, lions, and horses decorated dishes, weapons, carved seals and musical instruments.

The reliefs of the palaces in ancient Nineveh and Susa convey with amazing force the character of animals, especially lions, which in hunting scenes are depicted as worthy rivals to powerful kings.

For the artists of Ancient Greece and Ancient Rome, the main object of art becomes a person; images of animals do not play a significant role in ancient art.

Wounded lioness. Fragment of the relief “The Great Lion Hunt” from the palace of King Ashurbanipal in Nineveh. 669- approx. 663 BC e. Limestone. British museum. London.

In its quest to reflect real world In all their diversity, artists of the European Renaissance widely practiced life sketches of animals, images of which are found in sculpture, frescoes and easel paintings. One of the first to turn to such images was in the 15th century. A. Pisanello, and in the 16th century. Animal drawings of remarkable strength and accuracy were created by Leonardo da Vinci and Albrecht Durer.

In Holland in the 17th century. the animal image stands out in separate genre. Its founders A. Cape and P. Potter skillfully show domestic animals against the backdrop of farms and pastures. Each animalist chooses his favorite range of themes and images. In the 19th century outstanding sculptor A.L. Bari reflected his admiration for the love of freedom and the peculiar grace of animals in dynamic groups of predators. And C. Troyon, close to the artists of the Barbizon school, wrote poetic landscapes with cows and sheep surrounded by peaceful rural nature. On turn of the 19th century- XX centuries Swede B. Liljefors depicts wild animals in natural conditions their habitats, the French sculptor F. Pompon shows interest in the decorative and plastic qualities of birds and animals, and the German painter F. Marc in his works revives the heroism of images of wild animals.

V. A. Serov. Illustration for I. A. Krylov’s fable “The Lion and the Wolf” Graphite pencil, ink, pen. State Tretyakov Gallery. Moscow.

The first animal painter in Russia was in the 18th century. I. F. Groot. In the 19th century N. E. Sverchkov, E. A. Lanceray and especially P. K. Klodt (sculptural groups on the Anichkov Bridge in St. Petersburg) achieve great expressiveness in images of horses. The highest achievement of the Russian animalistic genre is the masterly graphic illustrations for the fables of I. A. Krylov, performed by V. A. Serov . They combine the poignancy of natural sketches of animals with gentle humor.

P. Potter. Farm. 1649. Oil on canvas. State Hermitage Museum. Leningrad.

The creativity of Soviet animal painters in painting, easel and park sculpture, as well as in book graphics is distinguished by a deep understanding of the natural world. The oldest sculptor and graphic artist V. A. Vatagin, with scientific observation, conveys the attractive liveliness of his feathered and four-legged heroes. Sculptor I. S. Efimov prefers decorative solutions. The fabulous illustrations of Yu. A. Vasnetsov and other masters reflected the traditions of folk decorative art, the images of which still live in wood, bone, stone carvings, folk clay toys and embroidery.

V. A. Vatagin. Mammoths. 1946. Tree.

Animal image

Knowledge of the anatomy, life and habits of an animal - the necessary conditions to create a complete image. This knowledge is acquired gradually, and no opportunity should be missed to replenish it.

Drawing from living nature is the main way to understand an animal.

Impressions drawn directly from life - the only one, irreplaceable, truly living material for further creative work artist.

It is better to start getting acquainted with drawing an animal with a training sketch. The sketch conveys in the most general and meager lines the various poses, moments of movement and proportions of the animal, as well as its individual parts. When executing a sketch, you should not pay attention to the details, and there is no need to shade it either. A sketch is the fastest way to put your first impressions of nature on paper.

The line is the main element of the sketch; it should be applied to the paper easily and freely, while maintaining clarity. For sketches, it is better to take smooth thin paper and a medium-soft pencil. Line on rough paper soft pencil breaks into dots, smudges more easily and loses its clarity. It is better for a beginner to draw light lines without blackening them: in this case, you can leave incorrect lines without erasing, and replace them with more correct ones, and at the end of the sketch, erase what is unnecessary; In this way, the beginner gets used to using an eraser less often and not unnecessarily scuffing the paper: not all paper tolerates an eraser.

For the first acquaintance with any animal or bird, it is convenient to take average size sheet of paper and start making sketches from the upper left side, several on one sheet, following the changing poses of nature (do not make them too small - there should be five or six sketches on the sheet).

You should not throw it around while working. Having chosen a nature, you should concentrate on it as seriously and as long as possible.

One should strive for both the beauty of the line and a sharp and true expression of the character of what is being depicted, i.e., the semantic content of the sketch.

And less often in decorative arts. Animal art combines natural science and artistic principles. The main task of an animalist can be both the accuracy of the image of the animal and artistic and figurative characteristics, including decorative expressiveness or endowing animals with human traits, actions and experiences (for example, depicting anthropomorphic characters in fairy tales and fables).

From sculpture, animalistic ceramics are widespread.

Stylized figures of animals are found among the monuments of the animal style, in the art of the Ancient East, Africa, Oceania, ancient America, in folk art many countries.

Artists working in the animalistic genre are called animalists .

Famous animal painters

• Yi Yuanji (c. 1000 - c. 1064) was a Chinese artist especially known for his skill in painting monkeys.
• Zhu Zhanji (1398-1435) - Chinese emperor and master of drawing dogs and monkeys.
• Albrecht Durer (1471-1528) - German painter and graphic artist.
• Frans Snyders (1579-1657) - Flemish painter.
• Jan Wildens (1586-1653) - Flemish painter.
• Vaclav Hollar (1607-1677) - Czech graphic artist and engraver.
• Jan Veit (1611-1661) - Flemish artist and engraver.
• Paulus Potter (1625-1654) - Dutch painter.
• David Koninck (1636-1699) - Flemish painter.
• Ivan Grot (1717-1801) - Russian painter.
• George Stubbs (1724-1806) - English painter.
• Mori Sosen (森狙仙) (1749-1821) - Japanese master of drawing monkeys.
• Jacques-Laurent Agas (1767-1849) - Swiss painter.
• Karl Kuntz (1770-1830) - German painter and engraver.
• Antoine-Louis Bari (1797-1875) - French painter and sculptor.
• Eugene Delacroix (1798-1863) - French painter and graphic artist.
• Christophe Fratin(1801-1864) - French sculptor.
• Edwin Henry Landseer (1802-1873) - English painter and sculptor.
• Pyotr Klodt (1805-1867) - Russian sculptor.
• Edward Lear (1812-1888) - animal artist, poet, representative of nonsense poetry.
• Philippe Rousseau (1816-1887) - French painter.
• Joseph Wolf (1820-1899) - German graphic artist and painter.
• Auguste Nicolas Cahen (1822-1894) - French sculptor.
• Emmanuel Fremier (1824-1910) - French sculptor.
• Brighton Riviere (1840-1920) - English painter.
• Evgeny Lanceray (1848-1886) - Russian sculptor.
• Heinrich von Zügel (1850-1941) - German painter.
• Francois Pompon(1855-1933) - French sculptor.
• Heinrich Harder (1858-1935) - German painter and illustrator.
• Friedrich Wilhelm Kühnert(1869-1921) - German painter and illustrator.

• August Gaul (1869-1921) - German sculptor.
• Franz Marc (1880-1916) - German expressionist painter.
• Vasily Vatagin (1883-1969) - Russian painter and sculptor.
• Evgeny Charushin (1901-1965) - Russian graphic artist, Honored Artist of the RSFSR.
• Konstantin Flerov (1904-1980) - Russian paleontologist, graphic artist and painter, Doctor of Biological Sciences.
• Nikolai Kondakov (1908-1999) - Russian biologist, illustrator, PhD.
• Andrey Marts (1924-2002) - famous Soviet and Russian animal sculptor, Honored Artist of the RSFSR.
• Alexey Tsvetkov (1924-2011) - Soviet and Russian animal sculptor, Honored Artist of the Russian Federation.
• Robert Bateman(born 1930) - Canadian animal artist.
• Rien Purtvliet(1932-1995) - Dutch illustrator.
• Akulov Vladimir Ivanovich (born 1954) is a famous Belarusian artist, graphic artist and painter, creator of a number of large-scale animalistic cycles.
• Marina Efremova (born 1961) is a Russian animal artist.

see also

Write a review about the article "Animalism"

Notes

Links

• - Exhibition “Animalism” at the Complutense University of Madrid

An excerpt characterizing Animalism

Kutuzov, through his spy, received news on November 1 that put the army he commanded in an almost hopeless situation. The scout reported that the French in huge numbers, having crossed the Vienna bridge, headed towards Kutuzov’s route of communication with the troops coming from Russia. If Kutuzov had decided to stay in Krems, then Napoleon’s army of one and a half thousand would have cut him off from all communications, surrounded his exhausted army of forty thousand, and he would have been in Mack’s position near Ulm. If Kutuzov had decided to leave the road that led to communications with troops from Russia, then he would have had to enter without a road into the unknown lands of the Bohemian
mountains, defending themselves from superior enemy forces, and abandoning all hope of communication with Buxhoeveden. If Kutuzov had decided to retreat along the road from Krems to Olmutz to join forces with troops from Russia, then he risked being warned on this road by the French who had crossed the bridge in Vienna, and thus being forced to accept battle on the march, with all the burdens and convoys, and dealing with an enemy three times his size and surrounding him on both sides.
Kutuzov chose this last exit.
The French, as the spy reported, having crossed the bridge in Vienna, were marching in an intensified march towards Znaim, which lay on Kutuzov’s retreat route, more than a hundred miles ahead of him. To reach Znaim before the French meant to receive great hope to save the army; to allow the French to warn themselves in Znaim would probably mean exposing the entire army to a disgrace similar to that of Ulm, or to general destruction. But it was impossible to warn the French with their entire army. The French road from Vienna to Znaim was shorter and better than the Russian road from Krems to Znaim.
On the night of receiving the news, Kutuzov sent Bagration’s four-thousand-strong vanguard to the right over the mountains from the Kremlin-Znaim road to the Vienna-Znaim road. Bagration had to go through this transition without rest, stop facing Vienna and back to Znaim, and if he managed to warn the French, he had to delay them as long as he could. Kutuzov himself, with all his hardships, set out for Znaim.
Having walked with hungry, shoeless soldiers, without a road, through the mountains, on a stormy night forty-five miles, having lost a third of the stragglers, Bagration went to Gollabrun on the Vienna Znaim road several hours before the French approached Gollabrun from Vienna. Kutuzov had to walk another whole day with his convoys to reach Znaim, and therefore, in order to save the army, Bagration, with four thousand hungry, exhausted soldiers, had to hold off for a day the entire enemy army that met him in Gollabrun, which was obvious , impossible. But a strange fate made the impossible possible. The success of that deception, which gave the Vienna bridge into the hands of the French without a fight, prompted Murat to try to deceive Kutuzov in the same way. Murat, having met Bagration’s weak detachment on the Tsnaim road, thought that it was the entire army of Kutuzov. In order to undoubtedly crush this army, he waited for the troops that had fallen behind on the road from Vienna and for this purpose proposed a truce for three days, with the condition that both troops would not change their positions and would not move. Murat insisted that negotiations for peace were already underway and that, therefore, avoiding useless shedding of blood, he was offering a truce. The Austrian general Count Nostitz, who was stationed at the outposts, believed the words of the envoy Murat and retreated, revealing Bagration’s detachment. Another envoy went to the Russian chain to announce the same news about peace negotiations and offer a truce to the Russian troops for three days. Bagration replied that he could not accept or not accept a truce, and with a report of the proposal made to him, he sent his adjutant to Kutuzov.
The truce for Kutuzov was the only way to gain time, give Bagration’s exhausted detachment a rest and allow convoys and loads to pass through (the movement of which was hidden from the French), although there was one extra march to Znaim. The offer of a truce provided the only and unexpected opportunity to save the army. Having received this news, Kutuzov immediately sent Adjutant General Wintzingerode, who was with him, to the enemy camp. Winzengerode had to not only accept the truce, but also offer terms of surrender, and meanwhile Kutuzov sent his adjutants back to hurry as much as possible the movement of convoys of the entire army along the Kremlin-Znaim road. The exhausted, hungry detachment of Bagration alone had to, covering this movement of the convoys and the entire army, remain motionless in front of an enemy eight times stronger.