Introduction: The Makovsky Artistic Legacy
The late nineteenth and early twentieth centuries in Russia were a period of profound social, political, and artistic ferment. Amidst this transformative era, the Makovsky family stood as a veritable dynasty in the Russian art world. While names like Konstantin and Vladimir Makovsky often come to the fore in discussions of this period, Aleksander Vladimirovich Makovsky, son of Vladimir and nephew of Konstantin and Nikolay, carved out his own distinct, albeit sometimes overshadowed, niche. As a painter, educator, and member of the influential Peredvizhniki (Wanderers) movement, Aleksander Makovsky contributed to the rich tapestry of Russian Realism, capturing the nuances of everyday life and the enduring beauty of the Russian landscape. This exploration delves into his life, his artistic journey, his key works, and his place within the vibrant artistic milieu of his time.
Early Life and Artistic Immersion
Aleksander Vladimirovich Makovsky was born on March 24 (April 5, New Style), 1869, in Moscow, into a family where art was not merely a profession but a way of life. His father, Vladimir Yegorovich Makovsky (1846-1920), was a prominent figure in the Peredvizhniki movement, celebrated for his genre scenes depicting the lives of ordinary Russians with empathy and subtle social commentary. His uncles, Konstantin Yegorovich Makovsky (1839-1915), was famed for his large-scale historical paintings and society portraits, and Nikolay Yegorovich Makovsky (1841-1886), was also a painter, known for his architectural landscapes and genre scenes.
Growing up in such an environment, Aleksander was immersed in artistic discussions, studio practices, and the vibrant cultural life of Moscow from his earliest years. It was almost inevitable that he would follow the family path. His initial artistic instruction naturally came from his father, Vladimir, who would have provided a foundational understanding of drawing, composition, and the principles of Realism that were central to his own work and the ethos of the Peredvizhniki. This early, informal education within the family studio laid the groundwork for his later academic pursuits and professional development. The constant presence of art and artists in his formative years undoubtedly shaped his worldview and his aspirations.
Formal Artistic Education: Moscow and St. Petersburg
In 1884, at the age of fifteen, Aleksander Makovsky formally embarked on his artistic training by enrolling in the prestigious Moscow School of Painting, Sculpture, and Architecture (MUZHVZ). This institution was a crucible for many of Russia's leading artists and a bastion of Realist tradition, though it also fostered a degree of artistic freedom. During his time at MUZHVZ, which lasted until 1893, Aleksander studied under several influential masters who further honed his skills and broadened his artistic perspectives.
Among his notable teachers were Vasily Dmitrievich Polenov (1844-1927), a versatile artist renowned for his lyrical landscapes, historical paintings, and plein-air techniques. Polenov's emphasis on capturing the subtle effects of light and atmosphere, and his deep appreciation for the Russian countryside, would have resonated with the younger Makovsky. Another significant instructor was Illarion Mikhailovich Pryanishnikov (1840-1894), a founding member of the Peredvizhniki, known for his poignant and often critically observant genre scenes. Pryanishnikov's commitment to depicting the realities of Russian life, particularly its humbler aspects, reinforced the social consciousness inherent in the Peredvizhniki ethos. Of course, his father, Vladimir Makovsky, also taught at the school and continued to be a guiding influence.
During his studies at MUZHVZ, Aleksander demonstrated considerable talent, earning accolades for his work. He received medals for his drawings and sketches, indicating a strong grasp of academic fundamentals. His education there provided him with a solid grounding in the technical aspects of painting and a deep understanding of the Realist tradition that dominated Russian art at the time.
After his initial studies in Moscow, Aleksander sought to further refine his skills and broaden his horizons. He briefly traveled to Paris, the undisputed art capital of Europe, where he is said to have studied in the atelier of Fernand Cormon (1845-1924). Cormon was an academic painter known for his historical and prehistoric scenes, and his studio attracted a diverse range of students, including future luminaries like Henri de Toulouse-Lautrec and Vincent van Gogh (though their time there may not have overlapped with Makovsky's). This Parisian sojourn, however brief, would have exposed Makovsky to different artistic currents and pedagogical approaches.
Upon his return to Russia, Aleksander Makovsky continued his advanced studies at the Imperial Academy of Arts in St. Petersburg. From 1894 to 1895, he was a non-credit student in the workshop of the towering figure of Russian Realism, Ilya Yefimovich Repin (1844-1930). Repin was not only a master painter but also an inspiring teacher, and his studio was a coveted place for aspiring artists. Studying under Repin, even for a relatively short period, would have been an invaluable experience, offering insights into the working methods and artistic philosophy of one of Russia's greatest painters. This period in St. Petersburg marked the culmination of his formal artistic education, equipping him with the skills and confidence to embark on his professional career.
The Peredvizhniki: Joining the Ranks
The Society for Travelling Art Exhibitions (Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok), commonly known as the Peredvizhniki or Wanderers, was the most significant artistic movement in Russia during the latter half of the nineteenth century. Founded in 1870 by a group of artists, including Ivan Kramskoi, Grigoriy Myasoyedov, Nikolai Ge, and Vasily Perov, who had broken away from the conservative Imperial Academy of Arts, the Peredvizhniki aimed to make art accessible to a wider public beyond the elite circles of Moscow and St. Petersburg. They organized travelling exhibitions across provincial Russia, championing a Realist art that depicted the lives of ordinary people, the Russian landscape, and historical subjects with a strong sense of national identity and often, social critique.
Given his family background and artistic training, it was natural for Aleksander Makovsky to align himself with the Peredvizhniki. His father, Vladimir, was a leading member, and the movement's ideals were deeply ingrained in his artistic upbringing. In 1902, Aleksander Vladimirovich Makovsky officially became a member of the Peredvizhniki, joining the ranks of artists who were shaping the course of Russian art. He actively participated in their exhibitions from 1893 (initially as an exhibitor) until 1922, showcasing his works to a broad audience.
His involvement with the Peredvizhniki placed him in direct contact and collaboration with many prominent artists of the day. Beyond his teachers Repin and Polenov, and his father Vladimir, he would have interacted with figures such as Nikolai Kasatkin, known for his depictions of working-class life; Abram Arkhipov, celebrated for his vibrant portrayals of peasant women; and landscape painters like Isaac Levitan (though Levitan passed away in 1900, his influence was immense) and Vasily Baksheyev. The Peredvizhniki exhibitions were not just showcases of art but also important forums for artistic exchange and debate, fostering a sense of community among artists committed to similar ideals.
Artistic Style and Thematic Concerns
Aleksander Makovsky's artistic style was firmly rooted in the Realist tradition of the Peredvizhniki. He primarily focused on genre scenes, landscapes, and portraits, often imbued with a gentle lyricism and a keen observation of human character and natural beauty. Unlike some of his contemporaries who engaged in sharp social critique, Aleksander's work tended to be less overtly political, often emphasizing the more intimate and everyday aspects of life.
His genre paintings frequently depicted scenes from Russian rural and urban life. Works like Pilyuzh Market (Рынок в Пилюже) or Russians at the Market (1918) capture the bustling atmosphere and diverse characters found in traditional Russian marketplaces. These paintings are characterized by careful attention to detail, a lively depiction of human interaction, and a rich, yet controlled, color palette. He had a talent for observing and rendering the typical features and activities of ordinary people, presenting them with dignity and understanding.
In his landscapes, such as The River (Река) and Landscape with a Church (Пейзаж с церковью), Makovsky demonstrated a sensitive appreciation for the Russian countryside. His landscapes often convey a sense of tranquility and harmony, capturing the specific moods and light conditions of different seasons. While perhaps not possessing the profound emotional depth of an Isaac Levitan or the epic sweep of an Ivan Shishkin, Makovsky's landscapes are sincere and skillfully executed, reflecting a genuine connection to his native land.
Portraiture also formed a part of his oeuvre. One notable, though perhaps less typical, example is the Portrait of Empress Alexandra Feodorovna. More commonly, his portraits and genre figures focused on less exalted subjects, capturing individual character through careful observation of expression and posture. A work titled Tired (Устала), for instance, likely conveys a moment of quiet introspection or weariness, a common theme in Realist art that sought to portray genuine human emotion.
His painting Hunting (Охота) would fall into the category of genre scenes with a focus on traditional Russian pastimes, allowing for the depiction of figures in a natural, active setting, and often showcasing the beauty of the landscape as a backdrop. Throughout his work, Makovsky maintained a high level of technical proficiency, with strong drawing skills and a balanced sense of composition, hallmarks of his academic training and the Peredvizhniki school.
Notable Works: A Closer Look
While a comprehensive catalogue of Aleksander Makovsky's works may be less widely disseminated than those of his more famous relatives, several paintings are consistently attributed to him and offer insight into his artistic contributions.
_Pilyuzh Market_ (Рынок в Пилюже): This genre scene would likely depict a lively market day in a provincial town or village. Such paintings were popular among the Peredvizhniki as they offered a microcosm of Russian society, allowing the artist to portray a variety of types, costumes, and interactions. Makovsky's skill in composition and character depiction would be evident in such a work.
_Russians at the Market_ (1918): Painted during a tumultuous period in Russian history, this work likely continues his interest in market scenes. It would be interesting to see if the socio-political upheavals of the time are subtly reflected in the mood or characters depicted, or if it represents a continuation of more timeless, traditional themes.
_The River_ (Река) and _Landscape with a Church_ (Пейзаж с церковью): These titles suggest typical Russian landscapes. The presence of a church is a common motif in Russian landscape painting, symbolizing not only faith but also a deep connection to the land and national identity. Artists like Alexei Savrasov, with his iconic The Rooks Have Arrived, had established the power of such imagery. Makovsky's interpretations would likely be imbued with a quiet, contemplative mood.
_Tired_ (Устала): This work, focusing on a single figure or a small group, would explore themes of human emotion and everyday experience. The ability to convey a state of being like tiredness through posture, expression, and setting is a key element of Realist genre painting, seen in the works of artists like Vasily Maximov or Nikolai Yaroshenko, who often depicted the hardships and quiet dignity of peasant life.
_Hunting_ (Охота): Scenes of hunting were a popular subject, allowing for dynamic compositions, the depiction of animals, and figures in traditional attire, often set against evocative landscapes. Vasily Perov's Hunters at Rest is a famous example of this genre, combining character study with a narrative element.
_Portrait of Empress Alexandra Feodorovna_: If this attribution is firm, it represents a significant commission and a foray into official portraiture, a genre also practiced by his father Vladimir and uncle Konstantin, as well as by leading portraitists like Ilya Repin and Valentin Serov. It would demonstrate his versatility and ability to work within the more formal constraints of royal portraiture.
It is important to note that the artistic output of the Makovsky family is extensive, and sometimes attributions can be complex. However, the works generally associated with Aleksander Vladimirovich consistently reflect the Realist principles and thematic interests prevalent in his artistic circle.
Teaching Career and Academic Recognition
Beyond his activities as a painter and member of the Peredvizhniki, Aleksander Makovsky also dedicated a significant part of his career to teaching. This commitment to art education was a path followed by many prominent Russian artists of his generation, who saw it as a way to pass on their knowledge and contribute to the development of future artists.
After completing his studies, he established his own private art studio in St. Petersburg in 1895, where he provided instruction to aspiring painters. His reputation as an artist and his connection to the esteemed Makovsky family likely attracted students eager to learn from him.
His teaching career became more formalized when he took on roles at major art institutions. He taught at the art school of Princess Maria Tenisheva, a significant patron of the arts and a central figure in the Russian craft revival movement. Tenisheva's school in St. Petersburg (and later her Talashkino art colony) was an important center for artistic training and experimentation, attracting artists like Mikhail Vrubel and Nicholas Roerich.
Later, Aleksander Makovsky became a professor at the Higher Art School of the Imperial Academy of Arts in St. Petersburg, the very institution where he had completed his advanced studies. He was appointed a professor-supervisor of a studio workshop in 1913. This was a prestigious position, placing him in a key role in shaping the next generation of Russian artists. In 1911, his contributions to art were recognized when he was granted the title of Academician by the Imperial Academy of Arts, a significant honor.
His teaching would have emphasized the solid academic grounding in drawing and painting that he himself had received, combined with the Realist principles of the Peredvizhniki. He would have encouraged careful observation, technical skill, and an engagement with subjects drawn from Russian life and landscape. His students would have benefited from his practical experience as a working artist and his deep understanding of the Russian artistic tradition.
Contemporaries and the Artistic Milieu
Aleksander Makovsky operated within a rich and dynamic artistic environment, interacting with a wide array of artists who represented various facets of Russian art at the turn of the century.
His closest artistic connections were, of course, within the Peredvizhniki movement. This included:
Ilya Repin: His teacher and the leading figure of Russian Realism.
Vasily Polenov: His teacher, known for his "intimate" landscapes and historical scenes.
Vladimir Makovsky: His father, a master of genre painting.
Ivan Kramskoi: A key ideologue of the Peredvizhniki, though he died when Aleksander was young, his influence was pervasive.
Vasily Surikov: Famous for his large-scale historical paintings depicting dramatic moments in Russian history.
Isaac Levitan: The master of the "mood landscape," whose work profoundly influenced Russian landscape painting.
Nikolai Yaroshenko: Known for his portraits and genre scenes often depicting intellectuals and revolutionaries.
Konstantin Savitsky: A close friend of Ivan Shishkin and a notable genre painter, co-author of Morning in a Pine Forest.
Abram Arkhipov: Celebrated for his vibrant depictions of Russian peasant life, particularly women in colorful attire.
Sergei Ivanov: A painter of historical and genre scenes, often with a focus on social issues.
Nikolai Kasatkin: Known for his depictions of miners and factory workers, bringing the industrial proletariat into the realm of Russian art.
Beyond the Peredvizhniki, the Russian art scene was also witnessing the rise of new movements and artistic personalities. The Mir Iskusstva (World of Art) movement, led by figures like Alexandre Benois, Léon Bakst, and Sergei Diaghilev, emerged in the late 1890s. They championed aestheticism, retrospectivism, and a greater engagement with Western European art, often standing in contrast to the civic-minded Realism of the Peredvizhniki. While Makovsky remained firmly within the Realist camp, he would have been aware of these emerging trends.
Artists like Valentin Serov and Konstantin Korovin, initially associated with Realism (Serov was Repin's student), began to incorporate Impressionistic techniques and a more modern sensibility into their work. Serov became one of Russia's foremost portraitists, while Korovin was a pioneer of Russian Impressionism.
Mikhail Vrubel stood apart with his highly individualistic Symbolist style, creating powerful and enigmatic works. Arkhip Kuindzhi, another unique figure, was known for his dramatic, almost theatrical, landscape paintings that employed striking light effects. Kuindzhi also became an influential professor at the Academy of Arts, and later, the Kuindzhi Society was formed by his students, including Nicholas Roerich and Konstantin Bogaevsky, to promote artistic innovation. Aleksander Makovsky was also associated with the Kuindzhi Society, serving as its chairman from 1918, indicating his respected position within the broader artistic community even as new trends emerged.
The composer Sergei Taneyev (1856-1915) is mentioned as a friend, highlighting the cross-pollination between different artistic disciplines that was common in the cultural circles of Moscow and St. Petersburg.
This vibrant milieu, with its established traditions and emerging innovations, formed the backdrop for Aleksander Makovsky's career. He navigated this world as a respected member of the Realist school, contributing to its legacy while also engaging with the evolving artistic landscape.
Later Years and Legacy
Aleksander Makovsky's career spanned the final decades of the Tsarist era, the turmoil of World War I, the Russian Revolutions of 1917, and the early years of the Soviet state. The Revolution brought profound changes to the art world, with new artistic movements like Constructivism and Suprematism gaining prominence, and a re-evaluation of the role of art in society.
The Peredvizhniki, as a movement, gradually lost its dominant position, though its last exhibition was held in 1923. Many of its members, including Aleksander Makovsky, continued to work and teach. In the post-revolutionary period, Realism, particularly in its socially engaged forms, found a new, albeit transformed, role. The Association of Artists of Revolutionary Russia (AKhRR), founded in 1922, championed a form of heroic realism that aimed to depict the life and achievements of the new Soviet society, and many former Peredvizhniki found a place within this new artistic landscape.
Aleksander Makovsky continued his teaching activities. After the 1917 Revolution, the Imperial Academy of Arts was reorganized, eventually becoming the VKhUTEMAS (Higher Art and Technical Studios) in Petrograd (St. Petersburg). Makovsky taught at these reformed institutions, adapting to the new educational structures. He served as the director of the Higher Art School (VKhU) at the former Academy of Arts from 1920 to 1922.
Aleksander Vladimirovich Makovsky passed away on October 26, 1924, in Leningrad (formerly St. Petersburg/Petrograd), at the age of 55. His death marked the passing of a dedicated artist and educator who had contributed to the rich tradition of Russian Realism.
Today, Aleksander Makovsky's works are held in major museum collections in Russia and Ukraine, including the State Tretyakov Gallery in Moscow, the State Russian Museum in St. Petersburg, and the Odessa Fine Arts Museum, among others. While he may not have achieved the same level of international fame as his father Vladimir or his uncle Konstantin, his paintings are valued for their skillful execution, their sincere depiction of Russian life and landscape, and their contribution to the legacy of the Peredvizhniki movement.
His legacy also lies in his role as an educator, having influenced a generation of artists who studied under him. As a scion of a distinguished artistic family, he upheld the values of craftsmanship and dedication to art, navigating a period of immense change while remaining true to his Realist convictions.
Conclusion: An Enduring Contribution to Russian Realism
Aleksander Vladimirovich Makovsky stands as a significant, if sometimes understated, figure in the history of Russian art. Born into an artistic dynasty, he absorbed the principles of Realism from his earliest years and honed his craft under some of the leading masters of his time. As an active member of the Peredvizhniki, he contributed to their mission of creating a nationally relevant and accessible art, capturing the character of Russian people and the beauty of their land.
His genre scenes, landscapes, and portraits reflect a keen observational skill, a sympathetic understanding of his subjects, and a commitment to the technical excellence valued by the Realist school. Through his long teaching career, culminating in a professorship at the reformed Academy of Arts, he played a vital role in transmitting artistic knowledge and tradition to younger generations.
In the grand narrative of Russian art, which includes such towering figures as Repin, Surikov, Levitan, and Serov, Aleksander Makovsky's contribution is that of a dedicated and talented artist who faithfully represented his era and his artistic convictions. His work provides valuable insights into the everyday life, culture, and artistic currents of late Tsarist and early Soviet Russia, securing his place as a respected member of the enduring tradition of Russian Realism.
