Vladimir Egorovich Makovsky stands as a significant figure in the landscape of 19th and early 20th-century Russian art. A master of genre painting and a prominent member of the influential Peredvizhniki (Wanderers) movement, Makovsky dedicated his artistic career to capturing the multifaceted realities of Russian life, often with a keen eye for social dynamics, gentle humour, and poignant observation. Born in Moscow on January 26 (O.S.) / February 7 (N.S.), 1846, and passing away in Petrograd (St. Petersburg) on February 21, 1920, his life spanned a period of immense social and political transformation in Russia, changes that were often reflected in the nuanced narratives of his canvases.
An Artistic Upbringing
Vladimir Makovsky was born into a family deeply immersed in the arts. His father, Egor Ivanovich Makovsky, was an accountant by profession but a passionate art lover and amateur painter. More significantly, Egor Ivanovich was one of the founders of the Moscow School of Painting, Sculpture, and Architecture (MSPSA) in 1832, an institution that would play a crucial role in his son's development. His mother, Lubov Kornilievna (née Mollengauer), was a talented singer, adding a musical dimension to the household's creative atmosphere. The Makovsky home was a hub for artists, writers, and musicians, exposing Vladimir and his siblings to a rich cultural environment from a young age.
His elder brother, Konstantin Makovsky, and younger sister, Alexandra Makovsky, also became painters, making the Makovskys one of Russia's notable artistic dynasties. While Konstantin would achieve fame for his large-scale historical canvases and society portraits, often executed in a more flamboyant, academic style, Vladimir charted a different course, focusing on the intimate dramas and comedies of everyday existence. This familial connection to the arts provided both support and, perhaps, a subtle benchmark against which Vladimir would define his own artistic identity.
Education and Early Development
Naturally drawn to painting, Vladimir Makovsky formally began his artistic education in 1861 at the very institution his father helped establish, the Moscow School of Painting, Sculpture, and Architecture. He studied there until 1866, learning from respected artists such as Evgraf Sorokin and Sergey Zaryanko. During his studies, he showed considerable promise, receiving silver medals for his work in 1865 and 1866. The school fostered a spirit of realism, moving away from the strictures of classical subject matter favoured by the Imperial Academy of Arts in St. Petersburg.
Even in his early years, Makovsky was influenced by the legacy of earlier Russian genre painters like Vasily Tropinin, known for his sensitive portraits and depictions of ordinary Muscovites, and the powerful, dramatic realism of Karl Bryullov, though Makovsky would ultimately favour quieter, more narrative scenes. The emphasis at MSPSA on observing contemporary life laid the groundwork for his future artistic direction. Upon completing his studies, he received the title of "Class Artist of the Third Degree."
The Peredvizhniki and the Rise of Realism
The 1860s and 1870s were a ferment of artistic change in Russia. A growing number of artists felt constrained by the conservative tastes and rigid curriculum of the Imperial Academy of Arts. They sought to create an art that was distinctly Russian, relevant to contemporary society, and accessible to a wider public. This led to the formation of the Society for Travelling Art Exhibitions (Tovarishchestvo peredvizhnykh khudozhestvennykh vystavok), commonly known as the Peredvizhniki or Wanderers, in 1870. Key figures in its founding included Ivan Kramskoi, Grigory Myasoyedov, Nikolai Ge, and Vasily Perov.
Vladimir Makovsky joined the Peredvizhniki in 1872 and quickly became one of its most active and committed members, eventually serving on its board. The Peredvizhniki championed realism, depicting the lives of peasants, the urban poor, the burgeoning middle class, and scenes reflecting the social issues of the day. They organized exhibitions that travelled to various cities across Russia, bringing art directly to the people rather than confining it to the elite circles of Moscow and St. Petersburg. Makovsky's focus on genre scenes depicting ordinary Russians perfectly aligned with the movement's ethos.
Chronicler of Everyday Life: Style and Themes (1870s)
Throughout the 1870s, Makovsky established his reputation with paintings that captured the nuances of Russian life with warmth, humour, and sharp observation. He excelled at small-scale, multi-figure compositions that told a story, often focusing on interactions between different social types. His works from this period are characterized by careful attention to detail, expressive characterization, and a subtle understanding of human psychology.
A notable early success was Admirers of Nightingales (also known as Nightingale Fanciers, 1872-73). This painting depicts a group of men, likely merchants or artisans, intently listening to a caged nightingale in a modest room. The work captures a specific cultural pastime but also subtly portrays the different personalities and their shared moment of simple pleasure. The painting was well-received and demonstrated Makovsky's ability to find significance in seemingly mundane activities. It reportedly achieved success when exhibited internationally, for instance in Vienna.
Other key works from this decade showcase his talent for gentle satire and social observation. Making Jam (1876) humorously portrays a domestic scene, likely involving a landowner's wife giving instructions while others perform the labour, highlighting subtle class dynamics. The Congratulator (1878) depicts an awkward social visit, capturing the discomfort and social codes of the time. Kvas Seller (1879) presents a lively street scene centered around a vendor of the popular fermented drink, offering a snapshot of urban life. These works solidified Makovsky's position as a master storyteller in paint.
Deepening Social Commentary (1880s)
While humour and sympathetic observation remained hallmarks of his style, the 1880s saw Makovsky increasingly tackle more serious social issues and expose the harsher realities of Russian life. His works began to reflect the growing social tensions, poverty, and injustices prevalent in the rapidly industrializing and stratified society of late Imperial Russia. His realism took on a more critical edge, though often still tempered with empathy for his subjects.
Waiting Room of the Justice of the Peace (1880) depicts a group of peasants and townspeople anxiously awaiting their turn in a rural courthouse. The varied expressions and postures convey a sense of powerlessness and bureaucratic indifference, highlighting the often-difficult relationship between ordinary people and the legal system. A Visit to the Poor (1874), though slightly earlier, anticipates this trend, showing a well-to-do woman visiting a destitute family, the scene charged with the awkwardness and inadequacy of charity in the face of systemic poverty.
The Convict (or The Released Prisoner, 1879) portrays the difficult return of a man to his bewildered family after imprisonment, capturing the emotional toll and social stigma associated with the penal system. One of his most powerful works from this period is The Collapse of the Bank (1881). It depicts the despair and anger of small investors who have lost their savings, a scene reflecting the economic instability and financial scandals of the era. The painting is a masterful study of collective distress and individual reactions to ruin.
Another significant work exploring urban poverty is The Doss House (1889). This painting offers a grim but compassionate view of the inhabitants of a cheap lodging house, portraying the destitution and shared hardship of those living on the margins of society. Makovsky avoids sensationalism, instead focusing on the humanity of the individuals within their bleak surroundings. Through such works, Makovsky contributed significantly to the Peredvizhniki's mission of using art as a form of social commentary, aligning his efforts with contemporaries like Ilya Repin and Vasily Surikov, who tackled historical and social themes on a grander scale.
Later Works and Political Awareness
As Russia moved towards the tumultuous turn of the 20th century, Makovsky's work continued to reflect the changing social and political climate. While he maintained his focus on genre scenes, some later works carry a heavier, more somber tone, perhaps reflecting a growing sense of unease or disillusionment. His technical skill remained high, but the light humour of his earlier pieces often gave way to more pointed critique or melancholic observation.
Thou Shalt Not Go! (1892) depicts a dramatic confrontation, likely between a wife trying to prevent her husband from going out drinking or perhaps engaging in political activity, hinting at domestic strife and the pressures faced by working-class families. On the Boulevard (1886-87) shows a poignant encounter between a well-dressed young student and a poor, elderly craftsman resting on a bench, symbolizing the social divides and perhaps the uncertain future facing different segments of society.
The revolutionary events of 1905, particularly the "Bloody Sunday" massacre in St. Petersburg where peaceful demonstrators were fired upon by soldiers, deeply affected many Russian artists, including Makovsky. He responded directly with the painting January 9th, 1905, on Vasilyevsky Island (completed 1905-1907). This work is a departure from his usual genre scenes, depicting the chaotic and tragic aftermath of the violence. It stands as a powerful indictment of state brutality and a testament to his engagement with the critical political events of his time.
Portraiture and Illustration
While best known for his genre paintings, Vladimir Makovsky was also a capable portraitist. He painted likenesses of fellow artists, intellectuals, and members of his family. These portraits, often less narrative than his genre works, still display his keen observational skills and ability to capture character.
Furthermore, Makovsky was a prolific illustrator. He created illustrations for the works of major Russian authors, including Nikolai Gogol, Ivan Turgenev, and Mikhail Lermontov. This work required a deep understanding of the literary texts and the ability to translate complex characters and scenes into visual form, further demonstrating his versatility and narrative talents. His illustrations helped to popularize these literary classics and contributed to the visual culture surrounding Russian literature.
Teaching Career and Influence
Beyond his own artistic production, Vladimir Makovsky made significant contributions as an educator. He returned to his alma mater, the Moscow School of Painting, Sculpture, and Architecture, as a professor from 1882 to 1894. During this time, he mentored a generation of young artists, passing on the principles of realism and careful observation that defined his own work.
In 1894, he moved to St. Petersburg to take up a professorship at the Imperial Academy of Arts, which had undergone reforms and become more open to the realist trends championed by the Peredvizhniki. He headed the genre painting workshop there. From 1894 to 1896, he also served as Rector of the Higher Art School associated with the Academy, playing a role in shaping its direction during a crucial period. His long teaching career influenced numerous Russian artists who studied at these premier institutions during his tenure, including figures like Abram Arkhipov and Sergei Malyutin, who became known for their own depictions of Russian life.
Relationships with Contemporaries
Makovsky's career unfolded within a vibrant and sometimes contentious art world. His relationship with his brother, Konstantin Makovsky, was reportedly amicable, despite their differing artistic paths. While Vladimir focused on intimate genre scenes rooted in realism, Konstantin embraced a more decorative, large-scale style popular with the aristocracy and wealthy patrons, often depicting historical scenes or idealized Russian beauty. They represented different facets of Russian art in the late 19th century.
As a core member of the Peredvizhniki, Vladimir Makovsky worked alongside and exhibited with the leading realists of his generation. These included the movement's intellectual leader Ivan Kramskoi, the master of historical drama Vasily Surikov, the epic painter of Russian life Ilya Repin, the landscape painters Ivan Shishkin and Alexei Savrasov, and the early pioneer of critical realism Vasily Perov. While united by the broad goals of realism and national identity, there were diverse styles and personalities within the group, fostering a dynamic environment of mutual influence and occasional artistic debate.
His relationship with the great collector Pavel Tretyakov, founder of the Tretyakov Gallery, was somewhat reserved. While Tretyakov acquired some of Vladimir Makovsky's works, sources suggest he sometimes found Makovsky's prices too high or perhaps favoured works with a different kind of gravitas compared to the often more expensive and grander canvases by artists like Konstantin Makovsky or Ilya Repin. Nonetheless, Vladimir's works became essential components of major Russian art collections.
Legacy and Place in Art History
Vladimir Egorovich Makovsky holds an enduring place in Russian art history as one of the foremost masters of genre painting and a key figure of the Peredvizhniki movement. His legacy rests on his remarkable ability to capture the spirit of his time through detailed, empathetic, and often subtly critical depictions of everyday Russian life. He chronicled the experiences of diverse social strata, from peasants and artisans to merchants and the urban poor, creating a rich tapestry of late Imperial Russian society.
His paintings are valued for their narrative clarity, psychological insight, and technical skill. He possessed a unique talent for finding the universal in the particular, revealing broader social truths through intimate, carefully observed scenes. While sometimes overshadowed internationally by contemporaries like Repin or his own brother Konstantin, his contribution to the development of Russian realism is undeniable. He demonstrated that profound statements about society and human nature could be made through modest, everyday subjects.
His work as an educator further cemented his influence, shaping the next generation of Russian artists. Today, his paintings are treasured holdings in major museums, primarily the State Tretyakov Gallery in Moscow and the State Russian Museum in St. Petersburg, where they continue to offer valuable insights into the social and cultural history of Russia and stand as testaments to his artistic vision and humane perspective.
Conclusion
Vladimir Makovsky's art provides a window into the soul of late 19th and early 20th-century Russia. As a dedicated realist and an active participant in the Peredvizhniki movement, he used his considerable talents to document the lives, customs, joys, and sorrows of ordinary people. Through scenes infused with humour, pathos, and sharp social observation, he created a body of work that is both historically informative and artistically compelling. His commitment to depicting contemporary reality, combined with his skill as a storyteller and his influence as a teacher, secures his position as a vital and respected figure in the canon of Russian art.
