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Returning mentally to all Russian art in the first half of the xix century as a whole, we notice in all its various manifestations in common. Most of the artists of this time looking at life mostly heroic beautiful and poetic. This commitment was a peculiar form of protest directed against the ugliest forms of contemporary social life. With portraits painted in these decades, people look at us, beautiful and intrinsically noble, sometimes full of romantic awe, sometimes melancholy, dreamy. These are images created Kiprensky, Tropinin, they can be seen among the papers Bryullov.

Significance, seriousness and poetry filled with images of people from the people in the pictures this time. Are exactly as they are, for example, in the works and . Interest in the life of the people, to his fate inspires and historical painting: it is the people, his passion, his dreams are most concerned about two prominent historical painters of this time-Bryullova and Ivanov. Similarly, the creators of majestic architectural buildings of St. Petersburg and Moscow lived in my mind churches, public buildings and areas popular crowd: the builders and sculptors inspired by the ideals of democratic, civic nature of public life, is closely fused with the ideas of the greatness of the Russian people as a nation.

In addition poeticizing positive, beautiful in existing reality, the art of these years maturing trend of the critical image of its vices. Here the conflict between progressive and reactionary elements in the Russia's public life of the first half of the xix century find their immediate image characteristic episode of modern life. The most vivid expression of this trend was in the art Fedotov. Both of these trends that determined the nature of an art in the first half of the xix century, are equally important for understanding the significance of this period in the history of Russian art. Both of them, each in its own, fed by the works of Russian painters, graphic artists, sculptors and architects of the past half century.