1870-1918, Moscow, St.-Петербург

Members-учредители: N. N. GE, N. D. Dmitriev-Оренбургский, L. Kamenev, M. K. Klodt von Klodt von, M. P. Clodt von Klodt von, A. I. Korzukhin, I. N. Archaeology, K. V. Lemokh, K. E. Makowski, . Makovsky, G. G. Myasoedov, V. G. Perov, I. M. Pryanishnikov, A. K. Savrasov, I. I. Shishkin, V. I. Jacobi.

active members: M. M. Antokolsky, S. N. Ammosov, A. Arkhipov, A. F. Afanasiev, V. N. Baksheev, A. K. Jensen, V. A. Beklemishev, I. P. Bogdanov, . P. Bogdanov-Бельский, . K. Bodarevsky, A. P. Bogolyubov, F. A. Bronnikov, P. A. Bryullov, V. K. Byalynitsky-Бируля, A. M. Vasnetsov, V. M. Vasnetsov, K. A. Veselov, S. A. Vinogradov, E. E. Volkov, K. I. Gorbatov, K. F. Gong, T. Y. Dvornikov, . V. Dosekin, . N. Dubovskoy, II Endogurov, S. Y. Zhukovsky, . P. Zagorski, S. V. Ivanov, A. D. Kaygorodov, . A. Kasatkin, A. A. Kiselev, A. M. Korin, S. Korovin, K. K. Kostandi, . Kuznetsov, A. I. Kuindzhi, A. B. Lachowski, K. V. Lebedev, I. I. Levitan, Y. Y. Lehmann, A. D. Litovchenko, V. E. Makovsky, A. V. Makowski, V. M. Maksimov, M. G. Malyshev, S. V. Malyutin, S. D. Miloradovich, A. V. Moravians, . V. Nevrev, M. V. Nesterov, S. G. Nikiforov, I. S. Ostroukhov, K. K. Pervukhin, P. I. Petrovichev, . K. Pimonenko, V. D. Polenov, V. L. Popov, I. P. Pokhitonov, A. P. Rosmarien, Repin, Y. I. Repin, A. L. Rzhevskaya, K. A. Savitsky, S. I. Svetoslavsky, V. A. Serov, A. S. Stepanov, V. I. Surikov, L. V. Turzhansky, A. A. Kharlamov, M. F. Shemyakin, A. N. Schilder, . A. Yaroshenko.

Exhibitors exhibitions: H. M. Aladzhalov, C. F. Alexander, S. A. Arakelian, V. P. Baturin, I. P. Batyukov, V. A. Bobrov, . A. Bogatov, A. A. Borisov, M. P. Botkin, I. I. Brodsky, E. I. Bukovetsky, . M. Bykovskii, V. V. Vereshchagin, E. N. William, A. Golovin, I. L. Gorokhov, . K. Gradkowski, . N. Gritsenko, D. D. Burliuk, A. A. Zhukovsky, F. S. Zhuravlev, A. A. Zaretsky, E. S. Zarudnaya-Кавос, M. I. Zoshchenko, I. L. Kalmykov, A. N. Karinskaya, A. Alex. Kiselev, S. Y. Chisinau, . A. Klodt von Klodt von, S. F. Kolesnikov, K. A. Korovin, P. I. Korovin, S. P. Kuvshinnikova, G. A. Lapshin, R. S. Levitskii, P. A. Levchenko, A. E. Makowski, F. A. Malyavin, D. E. Martin, . S. Matveev, V. K. Menk, N. V. Meshcherin, A. I. Meshchersky, T. I. Of The Brain, A. I. Morozov, . V. Orlov, L. O. Pasternak, V. V. Perepletchikov, V. V. Perov, E. D. Polenova, S. P. Postnikov, V. N. Bee, M. S. Perin, F. I. Rerberg, A. P. Ryabushkin, S. S. S. (Golosov), V. A. Sims, M. G. Sokolov, F. V. Sychkov, E. M. Tatevosyan, I. I. Curd, J. P. Turygin, N. P. Himona, N. N. Khokhryakov, E. M. Khruslov, A. I. Teals, E. J. Shanks, A. N. Shishov, V. K. Stenberg, A. A. Shurygin, . L. Alert, E. F. Junge, A. S. Janoff, G. F. Yartsev, F. I. Yasnovsky.

Exhibitions: 1-я (1871 St-Петербург, Moscow, Kiev, Kharkov) — 48-я (1923, Moscow).

Largest art Associationthe second half of the nineteenth century; was founded in 1870 by the artists of St. Petersburg and Moscow with the aim to create a society that is independent from "all other promoting art" and, in the first place, from the Academy of fine arts. 2 Nov 1870 Statute was approved, in which the objectives of the partnership stated "the device with proper permissions in all the cities of the Empire, traveling art exhibitions, types: a) delivery to the inhabitants of the provinces the possibility of contacts with Russian art and to follow his progress b) development and love of the arts in society) making it easier for artists to sell their works".

the Highest body of the partnership was considered a General meeting of members convened at least once a year. Practical questions of the organization of exhibitions was the responsibility of elected by the General meeting, the Executive Committee, which consisted of two offices — St. Petersburg and Moscow. The first Board consisted of: in St. Petersburg — N. N. GE, M. K. Klodt, I. N. Kramskoy; in Moscow — G. G. Myasoedov, V. G. Perov and I. M. Pryanishnikov (the candidate).

the First exhibition opened on 29 November 1871 in the halls of the Imperial Academy of arts, then was shown in Moscow in the premises of the Moscow school of painting (April — may 1872), Kiev (September — October 1872) and Kharkov (October — November 1872). Exhibited 47 works, including the painting "Peter I interrogates Tsarevich Alexei in Peterhof" . N. GE, "Rooks have arrived", "elk island in Sokolniki" A. K. Savrasov, "Hunters at rest", "Fisher", "Portrait of A. N. Ostrovsky" V. G. Perov, "may night (Mermaids)", "Portrait of F. A. Vasiliev," "Portrait of M. K. Klodt" I. N. Archaeology. The amount received from the sale of paintings the first exhibition, amounted to 23 000 rubles, net income of the partnership — 4 000.

the Exhibition was a great public outcry and was seen by contemporaries as the embodiment of new aesthetic program, which was the basis of psychology, restraint of expressive means, the craving for realistic representation of the events of Russian history, in typical expressive images the national of life and nature. In the journal "notes of the Fatherland" M. E. Saltykov-Щедриным was placed an overview of the exhibition. Activity of the Wanderers has found enthusiastic support of V. V. Stasov.

the Flourishing activity of the partnership falls on 1870-90-е years. During this period exhibitions TPHV, in addition to St. Petersburg and Moscow, took place in Astrakhan (1889), Warsaw (1883, 1884, 1889), Vilna (1873-1878), Voronezh (1874, 1880), Elisavetgrad (1876, 1882-1887, 1890-1895), Kazan (1874), Kiev (annually), Chisinau (1873, 1890-1896), Kursk (1876, 1890), Nizhny Novgorod (1896), Novocherkassk (1886), Odessa (annually), Poltava (1888-1897), Riga (1873, 1875, 1878), Saratov (1874, 1879, 1889), Tambov (1880), Tula (1890, 1897), Kharkiv (annually), Yaroslavl (1876). From 1884 the exhibition was accompanied by an illustrated catalogue. Predominant place in the exhibitions held and genre painters, who formed the most numerous group.

To the public were made such works as "Christ in the wilderness" I. N. Kramskoy (2-я exhibition, 1872/1873), "barge haulers on the Volga" I. E. Repina, "Meeting of the icon" K. A. Savitsky, "a knight at the crossroads" V. M. Vasnetsov (6-я exhibition, 1878), "Morning of the Streltsy execution" V. I. Surikov, "the collapse of the Bank" V. E. Makovsky (9-я exhibition 1881), "religious Procession in Kursk province" I. E. Repina, "Menshikov in Berezov" V. I. Surikov, "Unknown"I. N. Kramskoy (11-я exhibition, 1883), "unexpected" I. E. Repina (12-я exhibition 1884), "Boyarynya Morozova" V. I. Surikov, "On the Boulevard" V. E. Makovsky (15-я exhibition, 1887), "life is Everywhere" . A. Yaroshenko (16-я exhibition, 1888/1889), "Morning in a pine forest" I. I. Shishkin (17-я exhibition, 1889/1890), "Quiet abode" (19-я exhibition, 1891/1892), "eternal rest" I. I. Levitan (22-я exhibition 1894/1895). The best works were acquired by P. M. Tretyakov was the Foundation of the Tretyakov gallery.

the Depletion of academic exhibitions, caused by the outflow of the society in the best artistic forces induced in 1875 to guide the Academy to enter into negotiations on the merger of the academic exhibitions with mobile. The failure of the Wanderers has caused a sharp reaction of the academic circles, which was manifested in the refusal to provide meeting space for traveling exhibitions (from 1876 they passed in the halls of the Academy or the society for the encouragement of arts) and the establishment of the Imperial Academy of arts "Society of exhibitions of works of art" designed to compete with the society. The conflict continued until 1890-х, when many of the Peredvizhniki entered the Council of the Imperial Academy of arts, participated in the drafting of the Statute of the Higher art school of painting, sculpture and architecture under the Academy, and after his approval stood at the head of the educational workshops (Repin, V. E. Makovsky, I. I. Shishkin, A. I. Kuindzhi).

From the second half of 1880-х and 1890-х there has been a crisis social-бытового of the genre, and social motives at exhibitions of the Association began to give way to salon trends (N. K. Bodarevsky, Y. Y. Lehmann, A. A. Kharlamov) and plein air landscape (M. V. Nesterov, I. S. Ostroukhov, V. D. Polenov).

Wishing to preserve the ideological integrity and creative identity, TPHV tightened the rules of admission of new members and exhibitors. So, from 1878 exhibitors were adopted by the General meeting (previously the right to make the exhibitors had independently from each other Moscow and St. Petersburg branches). By order of 21 March 1879 exhibitors were denied the right to apply for admission to full members — initiative was transferred to the General meeting, and for the transition to the rank of full member was required to score at least 2/3 of the votes of the members of the partnership. In 1891 it was decided not to take on exhibitions of the work of those exhibitors who exhibit their artworks in other exhibitions.

April 30, 1890, was approved a new Charter of the partnership, according to which the governing body of the society was the Council, consisting of members-учредителей, did not leave the society from the day of its Foundation. However, the first Board came P. A. Bryullov, A. A. Kiselev, K. V. Lemokh, V. E. Makovsky, V. D. Polenov, K. A. Savitsky, V. I. Surikov, . A. Yaroshenko. The Council has obtained unlimited rights in determining the composition of exhibitions, their dates and routes, and was also responsible for electing new members. He owned the right to appoint to conduct the current Affairs of the Board. Principled opposition to Charter change induced V. M. Vasnetsov and I. E. Repina to exit from the partnership.

At the beginning of the twentieth century the impact of the partnership was not as significant as in the last third of the XIX century;, however, until the end of its existence the exhibition TPHV continued to be among the mostcommercially successful and significant in the artistic life of Russia.

February 10, 1905, was approved last Charter. In 1909 ceased, a provincial exhibition. In 1913-1916, along with another arranged "the exhibition of sketches, drawings and sketches". In the directory 47-й exhibition (1922) was published the Declaration of partnership, main points of which (documentary veracity in reflection of the life of modern Russia, loyalty to the techniques of realistic painting) formed the basis of the ideological program of AHRR.