) - Russian painter and stone cutter.

Parents

Born in Yekaterinburg, in the family of Matryona Karpovna and Kozma Osipovich, a hereditary stone carver. As far as we have been able to establish, the family of stone cutters and experts on the Ural mineral resources of the Denisovs is known from the artist’s grandfather, the mining peasant Old Believer Osip Denisov. His son Kozma worked in the mines of the Berezovsky plant for more than twenty years, then moved with his family to Yekaterinburg, where his son Alexey was born. Kozma Denisov was engaged in the “relief” business - the production of “composite” paintings, “bulk” icons, and slide collections - since 1856. Obviously, his works enjoyed some recognition. Thus, in 1872, he exhibited at the Polytechnic Exhibition in St. Petersburg “The Hill of Minerals of the Ural Range, representing copper ores with their satellites in veins, as well as deposits of gold, lead, silver, copper and other ores” about 70 cm high. The following year he demonstrated “paintings from Ural mineral rocks” at the Vienna World Exhibition.

Biography

WITH youth Alexey mastered the intricacies of stone cutting - from the simplest operations to creating independent works. The debut of the young master was the All-Russian Art and Industrial Exhibition of 1882 in Moscow. Alexey Kozmich presented minerals from the Ural ridge, a painting and a stalactite grotto made of Ural minerals to the exhibition, which were awarded an honorary diploma. In the late 1880s, a master stone cutter and self-taught artist sets out to conquer Northern capital, having experience of participating in major national and international exhibitions in Moscow (1882), Yekaterinburg (1887), Copenhagen (1888), Paris (1889). Overcoming difficulties and hardships, he mastered the art of painting and watercolors at the Drawing School of the Imperial Society for the Encouragement of the Arts, created drawings for periodicals, and worked part-time as a graphic designer at the Baron Stieglitz School of Technical Drawing.

Having briefly returned to Yekaterinburg in the mid-1890s, Alexey was preparing for a new conquest of the capitals. After success at the 1900 World Exhibition in Paris, in December of the same year he opened his first personal exhibition “Urals in Painting” in Yekaterinburg. In the spring, the exhibition moves to the provincial city of Perm. The artist’s sincere, very personal attitude towards the landscapes depicted captivates viewers. Admired by the epic scope of the exhibition, critics are ready to forgive the author’s technical mistakes. The success of the exhibitions held in his homeland inspires the master - he is again storming St. Petersburg.

The turn of the century was marked for Denisov by a number of significant events that changed not only his creative and social life, but also his private life. In the mid-1890s, he married Alexandra Nikolaevna Berezovskaya, and soon his only son and heir, Nikolai, was born. At this time, the artist’s friendship with Dmitry Narkisovich Mamin-Sibiryak, who helped big influence for its formation. Following the example of the writer, in 1900 Denisov added to his surname the toponym that was so important to him - “Ural”.

In the spring of 1902, in the premises of the St. Petersburg theater "Passage", the artist opened a new - "traveling" - Exhibition "Pictures of the Urals and its wealth". The success of this enterprise is evidenced by the second edition of the “Review Guide” with significantly expanded descriptions and comments. The following year was marked by another exhibition, held in the same premises. The artist himself called it “jewelry,” and in an interview given in connection with the opening of the exhibition, he is already announcing the next exhibition - in Moscow.

At the beginning of 1903, the “Mining Agency for the Distribution of Mineral Resources of Russia A.K. Denisov (Ural) and Co.” was opened. The St. Petersburg address of the enterprise is Liteiny Prospekt, 64; at the same time, the papers also indicate the Yekaterinburg address - Pokrovsky Prospekt, 71-73/116 (a house on the corner of Pokrovsky Prospekt and Kuznechnaya Street, once bought by the artist’s father). Advertisements stated that the Agency included a warehouse of systematic mineralogical collections, Russian precious stones and factory-made stone products, as well as those created in his own workshop, the first traveling Exhibition of paintings and riches of the Urals. The secret of success lay in the talented combination of the master’s commercial flair with a sincere and piercing sense of affection for the Urals. Therefore, the presented assortment pleases with its diversity: individual samples and entire extensive collections of minerals, stone-cutting products and jewelry, paintings and graphics.

The exhibition “The Urals and Its Riches”, opened at the beginning of 1904 in Moscow, is successfully held. Participation in the same year at the World Exhibition in St. Louis, America, brought the artist not only an award - a Great Silver Medal, but also a serious disappointment: the picturesque part of the sent collection did not return.

Increasing popularity and ever-increasing trade turnover force us to look for a prestigious address to open a store. An opportunity presented itself and Denisov acquired the store of jeweler E. K. Schubert in the apartment building of E. K. Nobel. The shop windows overlooked a busy section of the Moika River embankment (house 42), and the building itself stretched the entire depth of the block, with a second façade facing the prestigious Konyushennaya Street. Since that time, information about the company “Mining Agency” appears in the directory “All Petersburg”, the owners are Alexey Kozmich Denisov-Uralsky and Alexandra Nikolaevna Denisova (Ural precious stones).

The following years are devoted to hard work - the store and workshops are developing, orders from leading jewelry firms in Europe are being fulfilled, paintings and graphic sheets are exhibited at annual exhibitions, work is underway to prepare a new large exhibition. Opened in January 1911 in St. Petersburg at Bolshaya Konyushennaya, 29, the exhibition “The Urals and Its Wealth” became a true triumph - during its work it was visited by many residents and guests of the capital, representatives of the ruling dynasty and high-ranking foreign guests repeatedly appeared in the exhibition halls. Thanks to this exhibition, strong business relations were established with the Parisian company Cartier. The success of the exhibition and the development of the enterprise allowed us to think about expanding the retail space. At the end of 1911, Alexey Kozmich bought premises on the prestigious Morskaya Street, at house 27. From that time on, the leading jewelry companies of Russia - Faberge, Ovchinnikovs, Tillander - became neighbors of the Ural resident.

In 1912, A.K. Denisov-Uralsky became one of the co-founders of the “Society for promoting the development and improvement of handicraft and grinding industries “Russian Gems””, on the basis of which the famous St. Petersburg enterprise specializing in the processing of ornamental stones appeared.

The beginning of the First World War, the loss of the Russian army and the suffering of the people forced the artist to take a fresh look at his work. He takes part in a charity exhibition of painters. Events force him to turn to his favorite stone and start creating a special series of allegorical images of the warring powers. These works became the basis of the master’s last lifetime exhibition. Alexey Kozmich donated all proceeds from the sale of entrance tickets to Russian soldiers and the Children's Care Society.

The October Revolution found the artist at his dacha in the town of Uusikirkko, where he was recovering from heavy losses that undermined his health - the death of his mother, who was so close to him, and tragic death only son. At the beginning of 1918, Denisov-Uralsky, like many residents of dachas on the Karelian Isthmus, found himself in involuntary emigration to the territory of independent Finland. His last years were overshadowed by unsuccessful attempts to create their own museum in Yekaterinburg and difficult mental illness, which brought Alexey Kozmich to a hospital in Vyborg. Having died within its walls in 1926, the master was buried in the Orthodox part of the Vyborg Ristimäki cemetery, which was destroyed during the Second World War.

Memory

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An excerpt characterizing Denisov-Uralsky, Alexey Kuzmich

In the evening, Prince Andrei and Pierre got into a carriage and drove to Bald Mountains. Prince Andrei, glancing at Pierre, occasionally interrupted the silence with speeches that proved that he was in good location spirit.
He told him, pointing to the fields, about his economic improvements.
Pierre was gloomily silent, answering in monosyllables, and seemed lost in his thoughts.
Pierre thought that Prince Andrei was unhappy, that he was mistaken, that he did not know the true light, and that Pierre should come to his aid, enlighten him and lift him up. But as soon as Pierre figured out how and what he would say, he had a presentiment that Prince Andrei with one word, one argument would destroy everything in his teaching, and he was afraid to start, afraid to expose his beloved shrine to the possibility of ridicule.
“No, why do you think,” Pierre suddenly began, lowering his head and taking on the appearance of a butting bull, why do you think so? You shouldn't think like that.
- What am I thinking about? – Prince Andrei asked in surprise.
– About life, about the purpose of a person. It can't be. I thought the same thing and it saved me, you know what? Freemasonry No, don't smile. Freemasonry is not a religious, not a ritual sect, as I thought, but Freemasonry is the best, the only expression of the best, eternal sides of humanity. - And he began to explain Freemasonry to Prince Andrey, as he understood it.
He said that Freemasonry is the teaching of Christianity, freed from state and religious shackles; teachings of equality, brotherhood and love.
– Only our holy brotherhood has real meaning in life; “everything else is a dream,” said Pierre. “You understand, my friend, that outside of this union everything is full of lies and untruths, and I agree with you that an intelligent and kind person has no choice but to live out his life, like you, trying only not to interfere with others.” But assimilate our basic beliefs, join our brotherhood, give yourself to us, let us guide you, and now you will feel, as I did, part of this huge, invisible chain, the beginning of which is hidden in the heavens,” said Pierre.
Prince Andrey, silently, looking ahead, listened to Pierre's speech. Several times, unable to hear from the noise of the stroller, he repeated the unheard words from Pierre. By the special sparkle that lit up in the eyes of Prince Andrei, and by his silence, Pierre saw that his words were not in vain, that Prince Andrei would not interrupt him and would not laugh at his words.

Alexey Kozmich Denisov-Uralsky (1863 -1926)

“The more we study the country in which we live, the more we become attached to it, the more dear it becomes to us. But in addition to the moral attachment to one’s native country, studying it brings great and material benefits: one cannot live in a house without examining it in all its needs and without arranging it in accordance with one’s needs. When we have our own well-appointed corner, we don’t feel the need to look at someone else’s house, there’s no desire to move from place to place, look for amenities from other owners and pay them for lodging.”

The future artist was born in Yekaterinburg on February 6, 1863. His grandfather, Osip Denisov, was a mining peasant who dealt with stone all his life. Father, Kozma Osipovich, worked in the mines of the Berezovsky plant and reached great success: he mastered a skill rare in the Urals - “composite” paintings, “bulk” icons and slides made of Ural gems.

The future jeweler and stone cutter was accustomed to the craft from childhood: already at the age of five his father taught him to polish soft stones, and by the age of nine the boy was already working 12-13 hours a day.

At the same time, Denisov-Uralsky’s second passion manifested itself - the love of painting. His father took him with him on trips to buy colored stones, but the boy was not interested in unprocessed rocks; in nature they seemed dull and lifeless. But the beauty of the surrounding nature, rivers and forests was inspiring.

After the death of his father in 1882, Alexey Denisov remained the only man in the family. He continued the work of his ancestors.

In 1887, the Siberian-Ural Scientific and Industrial Exhibition opened in Yekaterinburg, where Denisov-Uralsky’s bulk paintings were also exhibited. But it is at this exhibition that he feels how much he lacks art education, and the artist decides to go to St. Petersburg.

But things are not going well, there is not enough money, Denisov lives from hand to mouth. “Lack of steady income, hard labor, uncertainty in tomorrow undermine his strength. At the beginning of 1896, Denisov, sick and with his health seriously compromised, returned home to Yekaterinburg.”

At home Denisov actively participates in public life cities. In 1896, the Society of Lovers of Fine Arts was organized, where Denisov gave painting and drawing lessons. During the same period, one of the most famous works artist "Forest Fire".

In 1889 and 1990, Denisov visited Paris, then Berlin and Munich in order to learn the experience of Western European stone mining and processing technology.

All his life Denisov tried to promote his native Urals and the riches of its subsoil: “If you are interested in mining, you will find it there, if you are an artist, you will find a lot for painting, if you are a writer, you will meet curious types and a lot of primitive, everyday and ethnographic material , if you are a businessman, then you will find a living business there. The Urals provide rich material both for the mind and, in general, for a wide variety of activities.”

IN last period The artist’s life is riddled with tragic events: he loses his mother, followed by her young son, who suddenly dies tragically, and Denisov himself remains in Finland, unable to travel to his homeland.

Denisov-Uralsky devoted his entire life to the beauty of his native land, fought against the predatory destruction of the wealth of the Urals, welcomed the opening of the university in Perm, to which he presented a collection of minerals, stone-cuttings, and a series of allegorical sculptures of the warring states (exhibition 1916). Unfortunately, most of the artistic heritage remained abroad.

"To the moment October revolution Denisov owned emerald mines near Yekaterinburg, and in St. Petersburg he headed the Mining Agency, which supplied stone-cutting and jewelry works to the court of His Imperial Majesty. In the center of St. Petersburg, on the aristocratic Morskaya street, Denisov had his own store.”

Main dates of life.

1863 or 1864, February - A. was born. K. Denisov.

1882 – together with his father he participates in the All-Russian Art and Industrial Exhibition.

1883 – first meeting with Mamin-Sibiryak.

1884 – receives the title of master of relief craftsmanship from the Yekaterinburg craft council

1887 – stone-cutting works were awarded a silver medal at the Siberian-Ural Scientific and Industrial Exhibition

1887-1888 – enters the school of the Society for the Encouragement of the Arts in St. Petersburg. Receives an award at an exhibition in Copenhagen

1889 – organizes the first local art exhibition in Yekaterinburg in the museum of the Ural Society of Natural History Lovers. Participates in the work of the World Exhibition in Paris, where he receives an award.

1895 – participates in the III exhibition of the St. Petersburg Society of Artists, the Paris Exhibition and the All-Russian Exhibition in Nizhny Novgorod. Participates in the organization of the Society of Lovers of Fine Arts in Yekaterinburg, heads the art department.

1897 - takes part in an exhibition of stone products, organizes a new art exhibition in Yekaterinburg.

1897-1899 – participates in spring exhibitions of the Academy of Arts. Exhibits "Forest Fire".

1900 – opens the exhibition “Ural in Painting” in Perm.

1902 – opens the first traveling exhibition “The Urals and Its Riches” in St. Petersburg.

1903 – takes part in the work of the I All-Russian Congress of Figures on the Practice of Geological and Exploration in St. Petersburg

1904 – the painting “Forest Fire” receives the Great Silver Medal

1907-1908 – participates in the XV and XVI exhibitions of the St. Petersburg Society of Arts.

1911 – opens the 2nd traveling exhibition “The Urals and Its Riches” in St. Petersburg. Submits a memorandum to Mr. Minister of Trade and Industry"

1912 – organizes the Society in St. Petersburg to promote the development and improvement of handicraft and polished crafts “Russian Gems”. Develops a bill on benefits for the mining of precious stones and in October submits them for consideration at the congress of miners in Yekaterinburg

1916 – in St. Petersburg on Morskaya opens an exhibition of stone works “Allegorical figures of the warring powers”

1917 – addresses the Provisional Government with a new petition to develop colored stones

1917 – found himself cut off from his homeland due to the self-determination of Finland

1926 – died in Finland

A. Denisov-Uralsky: “a guide to the review of paintings of the Urals and its wealth,” 1904. “Fourth additional edition. - Moscow.

Enchanted by the Urals. Life and work of Uralsky. Sverdlovsk Middle Ural book publishing house. 1978 S. - 22

Denisov - “The Urals and its riches. St. Petersburg, 1911, p. 6

Lame and stone. Biography and reflections on how the Ural stone master lived and worked. Ekaterinburg. Publishing house "Autograph", 2007.

Denisov-Uralsky Alexey Kuzmich [Feb. 1863, Ekaterinburg - 1926, Uusikirko, Finland (now the village of Polyany, Vyborg district Leningrad region)], grew up. Painter, stone carver. Son and student of the Ural stone cutter Kuzma Osipovich Denisov (?-1882); studied at the Drawing School of the College of Artists in St. Petersburg (until 1891). One of the organizers of the Society of Lovers of Fine Arts in Yekaterinburg (1896), the Society for Promoting the Development and Improvement of Handicraft and Polishing Production “Russian Gems” in St. Petersburg (1912); was also the owner of the development of Ural stones and a stone-cutting store in St. Petersburg (until 1917). Visited Paris (1889, 1910), also Berlin and Munich. Long friendly relations connected Denisov-Uralsky with D.N. Mamin-Sibiryak. The paintings of Denisov-Uralsky are in the traditions of Russian itinerant movement; the influence of A.I. Kuinzhdi is noticeable in the use of unusual lighting effects. He painted mainly landscapes of the Urals (over 400, about 1 thousand sketches), including industrial ones. Most famous picture– “Forest Fire” (repeated by the artist; silver medal at the 1904 World Exhibition in St. Louis, USA).

"Forest Fire".
1897.

He worked a lot in traditional Ural stone carving: “set paintings”, “slides” (an artistic exhibition made of stones), relief maps of the Urals, also “grotto” inkwells, vases, boxes, Easter eggs, figurines, etc. made of semi-precious stones ( jasper, malachite, rock crystal, lapis lazuli, chalcedony, etc., including emeralds and sapphires). Most of Denisov-Uralsky’s carved works and his collection of minerals are kept in the Mineralogical Museum of Perm University.

Literature: Semenova S. Fascinated by the Urals. Life and work of A.K. Denisov-Uralsky. Sverdlovsk, 1978.

SEE ALSO:

“The more we study the country in which we live, the more we become attached to it, the more expensive it becomes for us. But in addition to moral attachment, studying it brings great and material benefits: you cannot live in a house without examining it in all its needs and without arranging it, in accordance with our needs. When we have our own well-arranged corner, we don’t feel the need to look at someone else’s house, there is no desire to move from place to place, seek amenities from other owners and pay them for lodging.”

These words are a vivid description of the life and fate of Alexei Kozmich Denisov-Uralsky, painter, jeweler, stone-cutter. His name is widely known in Russia and abroad. The most ambitious jewelry projects in Russia in past centuries are associated with Denisov-Uralsky.

The future artist was born in Yekaterinburg on February 6, 1863. His grandfather, Osip Denisov, was a mining peasant who dealt with stone all his life. Father, Kozma Osipovich, worked in the mines of the Berezovsky plant and achieved professional success: he mastered the craft of “composite” paintings, “bulk” icons and “mountains” made of Ural gems. From childhood, Alexey Denisov was accustomed to difficult work with stones: at the age of five, his father taught him how to polish gems. And by the age of nine, the boy was performing simple stone compositions on equal terms with adults.

The father took the boy with him on trips to buy colored stones. And the beauty of the surrounding nature
Denisov Jr. embodied it on paper. He was only nineteen when his father passed away. And young Denisov set off to conquer the Northern capital. In St. Petersburg he has practically no means of living, but he stubbornly masters the art of painting at the Drawing School of the Imperial Society for the Encouragement of the Arts. The student sells drawings for periodicals and works part-time as a graphic designer.

Returning to Yekaterinburg, Alexey Kozmich gives lessons in painting and drawing, and continues to engage in stone-cutting art: he makes figurines from gems, “composite” paintings and “slides”. And already in 1990, Denisov visited Paris, then Berlin and Munich: the Russian stone cutter easily absorbed the experience of Western European techniques for extracting and processing stone, and boldly introduced new skills into life. After success at the World Exhibition in Paris in December of the same year, he opened his first personal exhibition, “The Urals in Painting,” in Yekaterinburg.

At the same time, his friendship with Mamin-Sibiryak strengthens. Following the example of the writer, Denisov adds to his surname he added the toponym “Ural”, which was so important for him. The artist and stone cutter is a true patriot of the Urals, an active promoter of crafts and mineral wealth, by that time one of the most respected experts in the field of mineralogy, personally developing a project on benefits for the extraction of precious stones.

IN Tsarist Russia The popularity of gems is growing incredibly, and the name and trademark of the master are gaining considerable fame. Increasing trade turnover forces Denisov-Uralsky to look for a prestigious place to open a store. He purchases a jewelry store in an apartment building. Its storefronts overlook a busy section of the Moika River embankment, and the building itself stretches the entire depth of the block, with its second façade facing the prestigious Konyushennaya Street. Alexey Kozmich is rapidly developing his workshops and store, fulfilling orders from leading jewelry companies in Europe.

Opened in January 1911 in St. Petersburg at Bolshaya Konyushennaya, the exhibition “The Urals and Its Wealth” becomes a true triumph of Alexei Denisov-Uralsky - during its work it was visited by many residents and guests of the capital, representatives of the ruling dynasty and high-ranking foreign guests repeatedly appeared in the exhibition halls. Thanks to this exhibition, Alexey Kozmich’s workshop receives long-term and profitable orders from Carte.

The success and development of the enterprise allowed us to think about expanding the retail space. At the end of 1911
Alexey Kozmich buys premises on the prestigious Morskaya Street. The leading jewelry companies of Russia - Faberge, Ovchinnikovs, Tillander - become neighbors of the Urals. It must be said that while the Faberge brand is still thinking about how to get best ideas and “golden hands” from Yekaterinburg, Denisov-Uralsky had already transported to his workshops the entire flower of Ural stone-cutting architecture, which significantly improved his position and received high orders from the imperial court.

Denisov-Uralsky was sensitive to market demands. Seeing how successful the stone men were, he managed to attract the brilliant animal painter Georgy Malyshev, who studied at the sculpture department of the Academy of Arts for eleven years and served as a medalist at the St. Petersburg Mint, to make wax models.

After ten years of work in St. Petersburg, Denisov-Uralsky not only rose to the level of Faberge, but also
in some way surpassed his skill. He is the only one who began to create complex multi-stone blocked composite figures similar to Fabergé’s famous “Russian types” series. Experts are sure that the first Faberge figures in this series appeared only five years after the Denisov-Uralsky figures!

Denisov-Uralsky was a valuable supplier to the Parisian company Cartier. Thanks to the surviving inventory books of Cartier, you can find out that Denisov supplied animal art (small carvings animals made of stone), more complex composite sculpture (figures using the 3D mosaic technique, glued together from pieces of different stones), interior items (ashtrays, vases, inkwells, bowls, seals). It is known from French archives that some of these items were finalized in Paris. Refinement often consisted of inlaying diamond eyes and making a case, on the silk of which “Cartier, Paris” was embossed, and not “Denisov-Uralsky, Petrograd”. Accordingly, the thing was deprived of its original authorship.

And for some birds that were supplied without legs, golden legs were made in Paris. On
According to the assay legislation, they should have had the mark of the jeweler who made them - that is, one of Cartier’s employees. Therefore, when we pick up a bird on golden legs, attributed to Faberge, we identify the product by the presence of a case or by the brand that stands on the legs. But neither one nor the other can be the final reason for attribution. Unfortunately, the names of stone cutters often disappear. It is quite possible that some of the animals attributed to Carl Faberge came from the Denisov-Uralsky atelier - at least their stone part.

IN easter egg Faberge "Bay Tree" on the top, among the foliage, a motley hid parrot. The parrot is the most difficult bird for the artist and sculptor because it is multicolored. In terms of manufacturing technique, the parrot is close to the figurines of the “Russian types” series. There is an opinion that this parrot is an analogue of the same bird of Denisov-Uralsky!

The revolution found Alexey Kozmich at his dacha in the town of Uusikirkko. The greatest Russian architect ended up in exile in Finland. He did not accept Soviet power - probably for this reason his name was not as widely publicized as the Fabergé trademark, the owner of which was completely at the mercy of the new regime. But Denisov-Uralsky never stopped thinking about his homeland for a second - he loved his mighty Urals, Russian land.

Aged and sick, in a foreign land he painted a series of paintings dedicated to the Urals, and worked on a relief stucco painting “The Ural Range from a Bird's Eye View.” In May 1924, when he realized that his life was coming to an end, he decided for the first time to make contact with the Soviet government. Alexey Kozmich telegraphed to the Ural Society of Natural History Lovers about the transfer of 400 magnificent paintings and watercolors, an extensive collection of minerals and stone products as a gift to his beloved, native Yekaterinburg. However, the communists “dealt with” the priceless collection in their own way: the fate and whereabouts of most of this master’s heritage are still unknown...

Alexey Kozmich died in 1926 and was buried in the Orthodox part of the Vyborg Ristimäki cemetery, which was completely destroyed during the Second World War. IN Soviet years Denisov-Uralsky’s work was forgotten, and the great architect’s call to preserve the wealth of the Urals was outlawed by the communists.

Today, Denisov-Uralsky’s works are kept in the State Russian Museum (“Landscape with a Lake”), the Museum of the Mining Institute (“Gorka”) in St. Petersburg, in museums in Yekaterinburg, Perm, Irkutsk and in private collections. Most of the unique and highly artistic stone-cutting works of the great master with a Russian heart have been lost forever...

Prepared based on RuNet materials and archives
and research: Semenova S. V., Skurlova V.,
Pavlovsky V.B. and many others
No. 10 (39) October 2015

Denisov-Uralsky Alexey Kuzmich

Denisov-Uralsky Alexey Kuzmich(November 6, 1863, Yekaterinburg - 1926, Usekirko village, Finland) - painter, graphic artist, artist of decorative and applied arts.

Biography

Born into the family of a mining worker, a self-taught artist, whose works made from gems were exhibited at exhibitions in Moscow, St. Petersburg, and Vienna. He learned the art of stone cutting from his father. In 1884 he received the title of master of relief craftsmanship from the Yekaterinburg craft council. In the 1880s he exhibited his stone works at the Ural and Kazan scientific and technical exhibitions, the World Exhibition in Paris (1889), and the international exhibition in Copenhagen.

In 1887, on the advice of the writer D. N. Mamin-Sibyaryak, he came to St. Petersburg and for some time attended classes at the Drawing School of the Society for the Encouragement of the Arts (1887–1888). I started painting. On trips around the Urals he painted many landscapes, in which he captured a variety of natural phenomena, vegetation and geological features of the region. Denisov-Uralsky's paintings were reproduced in various St. Petersburg magazines and on open letters Communities of St. Evgenia.

He took part in the Spring exhibitions in the halls of the Imperial Academy of Arts (1898, 1899), exhibitions of the Society of Russian Watercolor Painters (1895, 1896, 1898, 1908, 1910), and the St. Petersburg Society of Artists (1907–1908). Exhibited his works at many international exhibitions; in 1897 he was awarded a gold medal at the World's Fair in St. Louis for his painting "Forest Fire." Spent personal exhibitions in Yekaterinburg and Perm (1900–1901) and St. Petersburg (1902, 1911) under the title “The Urals and Its Riches.”

Simultaneously with painting, he continued to engage in stone-cutting art: he made inkwells, paperweights, figurines made of gems, “composite paintings” (models of a mountain landscape made of gems on a watercolor background) and “slides” (collections of stones connected in the form of miniature grottoes). He created jewelry from gold, emerald, ruby, and pearls. In the mid-1910s, he made sculptural caricatures from stone - allegories of the countries that participated in the First World War, which he showed at a specially arranged exhibition in St. Petersburg (1916).

Actively engaged social activities. He advocated the development of the domestic mining industry and careful treatment of the natural resources of the Urals. In 1903 he participated in the First All-Russian Congress of Geological and Exploration Workers in St. Petersburg. In 1911 he became one of the initiators of convening a congress of miners in Yekaterinburg. In 1912 he organized in St. Petersburg a society for promoting the development and improvement of handicraft grinding production “Russian Gems”. In 1917 he approached the Provisional Government with a project for the development of colored stones.

At the end of the 1910s he lived at a dacha in the Finnish village of Usekirko near St. Petersburg; in May 1918 he was cut off from his homeland by the Soviet-Finnish border and actually ended up in exile.

In recent years, he created a series of paintings dedicated to the Urals, and worked on a relief stucco painting “The Ural Range from a Bird's Eye View.” In May 1924 he donated his creative heritage, consisting of 400 paintings, and an extensive collection of minerals and stone products. However, the whereabouts of most of the gift are currently unknown.