Las óleos de todo Perov, Vasily
ID Image  Painting (From A to Z)       Details 
35148  
Perov, Vasily, Hunters at Rest
  		 Hunters at Rest   mk100 1871 Oil on canvas 119x183cm
30824  
Perov, Vasily, Portrait of Fyodor Dostoevsky
  		 Portrait of Fyodor Dostoevsky   mk68 Oil on canvas Moscow, Tretyakow State Gallery 1872 Russia
19826  
Perov, Vasily, Portrait of the Writer Fyodor Dostoyevsky
  		 Portrait of the Writer Fyodor Dostoyevsky   1872 Oil on canvas The Tretyakov Gallery, Moscow.
19824  
Perov, Vasily, The Bachelor Guitarist
  		 The Bachelor Guitarist   1865 Oil on panel The Russian Museum, St. Petersburg.
19825  
Perov, Vasily, The Last Tavern at the City Gates
  		 The Last Tavern at the City Gates   1868 Oil on canvas The Tretyakov Gallery, Moscow.
Perov, Vasily
Russian Painter, 1834-1882 Russian painter. Son of a public prosecutor, he studied intermittently at Arzamas from 1846 to 1849 at the Art School of Alexander Stupin (1776-1862), a classicist painter whose School was the first of its type in provincial Russia, and during the 1850s at the Moscow School of Painting, Sculpture and Architecture under Sergey Zaryanko. The work of Pavel Fedotov, pictorial satire in the press and genre scenes by the Old Dutch masters and William Hogarth were the greatest formative influences on Perov. His early works, permeated by a Biedermeier romantic spirit, combine detailed brushwork with anecdotal narrative and aim at criticizing social behaviour in line with the contemporary democratic doctrines of such writers as Nikolay Chernyshevsky. Such anti-clerical pictures as the Village Sermon (1861; Moscow, Tret'yakov Gal.) are distinguished by a particular irony. As in the prose of Nikolai Leskov, which has many affinities with Perov's painting, there is a conflict between feelings of love and hatred, and between an intimate knowledge of the daily life of the people and an alienating irony. In 1862-4 Perov travelled abroad, working mainly in Paris, where he painted a series of vivid genre scenes of city life. Perov's success as a genre painter reached its peak in the latter half of the 1860s. His compositions become more laconic and expressive; overcoming an indisciplined use of colour, he achieved an impressive unity with an austere greyish-brown palette. Such works as the Drowned Girl (1867) and the Last Tavern by the City Gates



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