Innovative solutions in easel painting through the prism of the activities of artists of the Creative Painting Workshop of the Russian Academy of Arts under the leadership of H. A. Yakupov.

All spheres of life are in the process of global development, easel realistic painting is in demand, created by artists in Russia and abroad. Realism (from Latin. realis — "real") is a trend in the art of the XIX-XXI centuries, which is characterized by the most authentic depiction of reality in works of art. Differentiation about the structure of the world contributed to the emergence of types of easel painting, defined by subject: still life, landscape, portrait, household, historical, mythological genres ^{[2, p.1]}. The subject-thematic painting (S.-T.K.) is a fusion of traditional genres of painting, which occurred during the Soviet period in easel painting in 1930 This led to the creation of monumental canvases on socially important topics at that time, thus there were works with a clearly defined plot, a plot action, captured, as a rule, in a multi-figure composition. S.-because it was thought of as a necessary product of the realistic method, "the image of life in the forms of life itself" (Dictionary of Terms, Russian Academy of Arts). The formation and development of an art school is inevitably associated with the life of the country, with the joys and troubles of the people ^[2]. Easel painting is unique in Russian art, it has historical traditions and modern development trends throughout Russia. The works of modern artists are created, taking into account the global experience of easel painting, Russia's contribution to its development is invaluable ^[3].

From March 21 to April 20, 2024, the exhibition "Master's Workshop", works of easel painting by graduates of the Creative Painting Workshop of the Russian Academy of Arts in Kazan (T. M. RAKH) was exhibited in the exhibition hall of the Kazan State Institute of Culture (KazGIK). A representative sample of works, 20 works, for the exhibition were performed by: M. A. Vagapov, head of T. M. RAKH (since 2024), Honored Artist of the Republic of Tatarstan and A. E. Tsybisov, associate professor of the Department of Fine Arts and Design of the Department of Monumental Art of KazGIK, graduate of T. M. RAKH (2018), the exhibition was designed to evaluate the innovative the experience of the artists-trainees of the Creative Workshop, to identify the prospect of interaction between T. M. RAKH and KazGIK. Historical paintings, portraits of contemporaries, genre and figurative compositions made up the exposition series. Art exhibitions are a part of professional education, a necessary component of the activities of the Academy's Creative Workshops ^[4]. The works dated from 1977 to 2007 were demonstrated by trainee artists, today already professional artists, many of them teach in the field of secondary and higher education, continue the traditions of painting of the Russian Academy of Arts (RAX). The exhibition recorded that it is necessary to popularize this layer of culture, to explore from a scientific and art criticism point of view, the pictorial material is useful for students of art universities, necessary for the development of realistic art in the Republic of Tatarstan and in other regions of Russia.

The exhibition became an informational occasion for conducting research, the goal was set: to identify a set of innovations in the works of graduates of the artists-trainees of the T. M. Painting Academy of Fine Arts in Kazan, to identify the value of the creative result of the artists' activities for the art of Russia to popularize the activities of this Creative Workshop. The tasks were set: to consider the attitude of Russian and foreign experts to the phenomenon of easel painting in Russia, to study the T. M. painting of the Academy of Fine Arts in Kazan as an educational center for the creation of easel painting in the context of Russian painting, to analyze the artistic and technical orientation of the works in the collection of the Creative Workshop, as reporting works on training and internship in higher education the institution, innovations of their creative solution — composition, color, in the format of easel painting, highlight the main aspects of innovations in the creative approach, discuss with art experts the totality of innovations in the conditions of traditional easel painting, identify the line between tradition and innovation in easel painting, formulate conclusions on the topic under study. A hypothesis was put forward: easel painting develops on the basis of traditions, using innovations.

In a foreign source, there is an opinion that until the end of the XIX century. Russian art was derivative, copying any styles imported from Western Europe ^[5]. But since 1862, at the World Exhibition in London, they began to talk about Russian easel painting, the academies of Paris, Rome, Berlin, London saw competitively capable professionals. In Europe, back in the 19th century, it was convinced that Russian easel painting is a unique phenomenon of world art culture. Rosalind Polly Blakesley, an expert on the art of imperial Russia, writes that the long struggle of Russian and European arts for primacy led to the birth of a national style in easel painting ^[6]. The pensioners of the Academy of Arts who came from Russia to Germany, Italy, France, Switzerland demonstrated a high level of skill in realistic art. I. E. Repin, V. I. Surikov, A. A. Ivanov, I. K. Aivazovsky, I. I. Levitan, A. I. Kuindzhi, V. M. Vasnetsov, M. A. Vrubel, M. V. Nesterov, B. M. Kustodiev and many other artists brought world fame to easel painting in Russia. "The achievements of Russian art on the scale of world culture were felt by the cultural environment" ^[7]. Creative mutual processes, that is, the interchange of the secrets of the mastery of academic realistic painting, ideas, and the imaginative structure of thinking, were carried out and are going on within the artistic communities of Russia and abroad in the XIX-XXI centuries. Since the 19th century, the Russian Academy of Arts has been shaping and shaping trends in the development of easel paintings in painting, from academism, a trend based on dogmatic adherence to the classics, to the realistic direction, in which the Academic School of Painting and Drawing occupies a special place, since the Academic School of painting and Drawing is practically not in demand in the West. Western art universities prepare future outrageous artists who will be able to express themselves only through performance ^[7]. "In the West, they have completely forgotten what tradition is ...", "We have always been proud that we have preserved the school, and this is our dignity", the words of a full member of the RAH D. D. Zhilinsky ^[8]. Americans and Italians study at the Academy of Arts, but there are few of them, mainly Chinese, today China is again showing great interest in Russian art, especially realistic oil painting ^[7]. The method of socialist realism "the main motto now is not art for art's sake, but art in the service of the people" ^[9]. He helped to preserve the school of realism lost in Europe, in Russia ^[10]. The Academy of Arts promoted the opening of art schools in Russian cities, supported exhibition activities ^[6], always paid attention to education issues, at the Imperial Academy of Arts education began from early childhood and ended with a retirement trip to Europe. In Soviet times, a similar system of three stages was reproduced: secondary art school, art institute and academic workshops (graduate schools) ^[4]. The Creative Workshop of the Academy is a creative laboratory for the study of the processes and prospects of the development of modern fine art, as well as the application of new technologies (Russian Academy of Arts. The resolution. The Government of the Russian Federation. 05/19/09). T. M. RAKH is a unique phenomenon in art and education, "the value of Russian and world culture" (A.O. Bogatov), with his works, trainee artists determine the trends in the formation and development of Russian art. The largest Russian artists of the XX century. we stood at their origins.

D. D. Khisamova writes that in 1895 the famous Kazan Art School was organized in Kazan, which gave Russia and the world a galaxy of outstanding masters of art: N. I. Feshin, P. P. Benkov, D. D. Burlyuk, A.M. Rodchenko, K. K. Chebotarev and many others. Today, the workshop is a center of professional growth for brush masters of a huge area of our country, along with the Kazan Art School named after N.I. Feshin, the Academic Painting Workshop is the art center of the republic ^[11]. During the work of the Creative Workshop, several managers have changed. From 1977 to 2008 H. A. Yakupov, from 2008 to 2013 A. A. Abzgildin, from 2014 to 2023 F. G. Khalikov. 38 artists were produced under the leadership of H. A. Yakupov. The creativity of graduate students made up the golden fund of Russian and Tatar fine arts.

To develop easel realistic painting in the region, to contribute to the art of easel painting in Russia, to promote the traditions of realism, to conduct exhibition activities in the region, thereby forming an aesthetic and cultural environment - the purpose of the creation and activity of T. M. painting RAKH in Kazan ^[4]. The workshop became a "forge" of young creative personnel, a center of professional art in the city of Kazan and in the Volga region, and influenced the art of easel painting in Russia. At the end of the 20th century, the art of the Republic of Tatarstan left the provincial framework, the work of artists of the Republic of Tatarstan was a notable phenomenon in the history of realistic painting in Russia. The search for author's self-expression, new forms in the visual arts, in the format of an easel thematic painting was carried out by students of T. M. painting of the Russian Academy of Sciences under the guidance of H.A. Yakupov, a plot-themed painting was taken as a basis ^[12].

The work of H. A. Yakupov has become a definite vector of modern realistic art of the Republic of Tatarstan and the Volga region regions ^[13]. According to D. D. Khisamova: "The eternal subject of art — what or how to depict — has never fallen out of the sphere of attention of a great artist." ^[14]. H. A. Yakupov raised the level of professional skill of artists of Tatarstan, both the republic and the region, for several decades led young artists in the T. M. RAH, from 1977 to 2007 ^[15]. The creativity of graduates of the T. M. Painting Academy of Fine Arts in Kazan is important for the formation of traditions of realistic easel painting in the republic and the region. The cooperation of teachers and students in art is an important prerequisite for the development of an art school, continuation in new works of future generations of painters ^{[16, p. 1]}. Creative workshops have become a school for modern Russian artists. "The head, passing on his experience and knowledge to young artists, raised his ideological and professional level to create works based on the great traditions of Russian realistic art" (Creative workshops. Scientific Archive of the Russian Academy of Sciences) The credo of the Creative Workshop, laid down by its founder H. A. Yakupov, is freedom of self—expression provided a high level of professional skill. Russian Russian painting school traditions are historically connected with Russian realistic art, with the life of the people of Russia, "the desire of artists to express the beauty of nature, to inscribe the greatness of the labor and military feat of the Russian man in the history of art" ^{[16, p. 1]}.

Research methods. The research methodology is a set of methods that contribute to obtaining reasonable results, these are comparative methods of compositional and coloristic analysis. Artists use traditional forms, applying innovations, new sound, transform structure, plastic, in accordance with the novelty of the content. ^[17]. Analyzing the subject-thematic picture at the present stage, art expert F. V. Fedyunin believes that, conducting research on this topic, the question is natural: what determines the novelty and completeness of the subject-thematic picture and identifies several defining features: compositional solution, correspondence of format and theme, correspondence of color and theme, correspondence of pictorial technique and format, the three-dimensionality of the format solution. Let's agree and take as a basis the study of certain pictorial categories of paintings. A prerequisite is the base, mastery of the craft, that is, academic knowledge, drawing and painting skills. "It seems that following these conditions will allow the viewer to be involved in the plot unfolded by the artist on the canvas, whether it is a battle scene or a plot from peaceful life" ^{[18, pp. 10-19]}. Let's follow the example given by the expert F. V. Fedyunin as an example of the logic of analyzing a work of art. Let's apply compositional and artistic analysis to the works of easel painting, objects of research.

The subject of the study. The subject of the study is a set of innovative solutions for easel painting by artists of T. M. painting of the Academy of Fine Arts in Kazan. Easel painting by artists of T. M. painting of the Russian Academy of Sciences under the guidance of H. A. Yakupov in Kazan was chosen as the object of research. The works surprise with the freedom and variety of creative searches, demonstrate that the academic school makes the possibilities of artists very wide.

 1.

 Rice. 1. Yakupov F. H. Self-portrait. 1977, oil on canvas, 85x110. Property of T. M. painting RAKH, Kazan.

The artist is depicted in profile, a figure from the back, fragmentary, waist-high, against a background of a white canvas with a graphite drawing of the city of Kazan. The clothes of the author of the work are accent red. The decorative nature of the color scheme does not create a depth of space. The technique of planar color generalization, two–dimensional image, is applied as the principle of creating the monumentality of the grotesque image of the artist - creator. Russian symbolist artists of different ideological orientation are associatively recalled: the philosopher N. K. Roerich, with a special attitude to color, and K. S. Petrov-Vodkin, an artist of the revolution with a new meaning of red in symbol paintings. The format of the work (85x110) represents the author in full size, the artistic presentation of the image exalts the profession of a creative person, an artist. The compositional solution is distinguished by the unusual foreshortening, monumentality, which is an innovative idea of the author (Fig. 1).

 2.                                      3.

Fig. 2. Titova E. A. Blank canvas. T. M. painting of the RAKH, under the direction of H. A. Yakupov. 2002, oil on canvas, 200x150. Property of T. M. painting RAKH, Kazan.

Fig. 3. Titova E. A. Portrait of a colleague (R. R. Yamanova). 1999, oil on canvas, 110x62. Property of T. M. painting RAKH, Kazan.

The theme of the artist's profession often becomes the subject of creative realization in the work of interns. In the painting "Blank Canvas", the central part is a canvas untouched by a colorful layer, the artists and their mentor are concentrated around the canvas against the background of Kazan, the horizon is dynamically tilted towards the diagonal of the painting, thereby creating tension in a static composition. The idea of such an arrangement has become new, unusual for a thematic easel painting. The monumental significance of the work format (200x150) is justified, the characters are depicted in full size, which creates the illusion of the presence of young artists on a par with the viewer. The image is three-dimensional, the painting is made in an impressionistic manner with alternating local color spots, which recalls the influence of the artist N. I. Feshin (Fig. 2). In the "Portrait of a colleague", the theme of the creative profession is presented in the usual position of a female artist at easel work, the intersecting rhythm of the horizontals and verticals of wooden structures create emotional tension, the state of the artist before the work is born. The three-dimensional space is woven with impressionistic brushstrokes that recreate the world of the heroine's image. The accent of the red color of the clothes concentrates the viewer's attention, distracting from the details. The vertical arrangement of the format creates a sharpness of compositional perception. The format of the work (110x62) is chamber, the pictorial technique corresponds to it (Fig. 3). The search for complex compositional solutions in realistic painting distinguishes the trainee artist E. A. Titova, realistic and decorative trends are developing in her work.

 4.

Fig. 4. Khuzin R. F. The adoption of Islam by the Bulgars in 922, 2006, oil on canvas, 85x172.

Property of T. M. painting RAKH, Kazan.

Subject-themed paintings (Fig. 2, Fig. 4, Fig. 5, Fig. 6) the concept of "figured composition" corresponds, multi-figure compositions are taken as the basis of the works. The novelty of the solutions is based on a complex composite structure, plastics, rhythm, color, and their interaction with each other. R. F. Khuzin's canvas "The Adoption of Islam by the Bulgars in 922" is made in the historical genre, it is distinguished by a complex but harmonious compositional tie of a multi-figure solution with an emphasis on the central group of people with banners (Fig. 4). The artist's attention to detail is characteristic, along with monumentality and generalization of the whole solution, identification of heroic, individual psychological damn, the typification of images in the genre of historical painting was applied, the natural landscape of the environment was preserved, taking into account the planning and atmosphere. One can draw analogies with Russian artists who created works in this genre, for example, V. V. Vereshchagin, V. M. Vasnetsov, etc. The work is made in the technique of realistic writing. The work of R. F. Khuzin, A. S. Fedotov, A.V. Krylov, R. Yamanova, E. Y. Myasnikov, S. V. Isaeva, "representatives of an extensive group of graduates, "convinced realists" (F. H. Yakupov) ^[19], is based on the classical realistic school, on direct communication with nature, with the creation of a preparatory sketch of course, sketches are often works that have an independent value.

 5.

Fig. 6. Bychkov V. A. On his native land. 1993, oil on canvas, 75x120. Property of T. M. painting RAKH, Kazan.

 6.

Fig. 5. Krylov A.V. Conscript's Day. 1989, oil on canvas, 70x150. Property of T. M. painting RAKH, Kazan.

The compositional solution of the painting "On native land" supports the figurative line of the direction of the harsh style in Soviet painting, reflection on the passing away, comparison with the modern way of life (Fig. 5). The warm, saturated color of the work emphasizes the cold silhouette of the old gate structure, as an image of the outgoing former world. The figurative solution of the work has a symbolic meaning, the format of the work can exist in chamber, presented and monumental solutions.

The work "Conscript's Day" is made in the life-affirming traditions of the socialist realism trend (Fig. 6). In the compositions of A.V. Krylov and V.A. Bychkov, rhythm, as a means of expression, plays a special role, focusing on the characters, emphasizing the overall integrity. The paintings are three-dimensional, the proportional scale of objects in space is observed, the horizon falling into the field of view is determined. All attention is focused on the events taking place on earth, the sky frames the upper part of both works with a thin strip, the technique creates a panoramic vision of the plots, a special spatiality. The works are executed in a realistic pictorial manner, based on the best traditions of the realistic school, with the author's innovative artistic solution of themes.

 7.                              8.

Fig. 7. Myasnikov E. Y. Winter. 1996, oil on canvas, 90x120. Property of T. M. painting RAKH, Kazan.

Fig. 8. Isaeva S. V. Self-portrait. 2007, oil on canvas, 155x70. Property of T. M. painting RAKH, Kazan.

 9.                 10.

Fig. 9. Siraziev I. I. Tsvetta. 2002, oil on canvas, 90x70. Property of T. M. painting RAKH, Kazan

Fig. 10. Rumak S. N. Puppet time. Self-portrait. 2004, oil on canvas, 110x119. Property of T. M. painting RAKH, Kazan

The study presents a number of female portraits by different authors. The women's portrait gallery is diverse, each work has a novelty of compositional search, female figures and details are verified in the plastic interaction. The works are chamber in nature, the technique of execution demonstrates the creative handwriting of each artist: from broad strokes of oil, to the technical application of color with a palette knife in geometric, precisely repeating forms. The viewer can contemplate brilliant realistic writing (8, 9), in the traditions of Russian artists V. A. Serov, Z. E. Serebryakova and decorative author's execution with the transfer of characters of female images. Means of expression: a set of techniques for using artistic materials when creating these works, for example, textures (Fig. 7, Fig. 8, Fig. 9, Fig. 10). The color of the portrait "Tsvetty" by I. I. Siraziev is more theatrical and bright, unlike other female portraits, which corresponds to the general compositional structure of the portrait.  The portraits of I. I. Siraziev and S. N. Rumak lack spatial depth, thereby emphasizing their decorative effect. The works of K. A. Somov, V. E. Borisov-Musatov, masters of Russian symbolism in the portrait, as a source of inspiration. These trainees are from "young artists who have approached modern, avant-garde painting, creating a special world and images in it that differ from reality, professional in performance" (F. H. Yakupov) ^[19].

11.                             12.

Fig. 11. Shadrin A. Yu. Through the waves of smooth fans. 2003, oil on canvas, 120x92. Property of T. M. painting RAKH, Kazan

Fig. 12. Shlyapkin A. B. The morning of a new day. 1998, oil on canvas, 132x78. Property of T. M. painting RAKH, Kazan

The genre of household painting and children's portraits is presented in a light impressionistic manner, it is demonstrated by the authors A. Y. Shadrin and A. B. Shlyapkin, an analogy comes to mind with the technique of performing the works of a number of Russian painters of the XIX-XX centuries: I. E. Grabar, K. A. Korovin (Fig. 11, Fig. 12). The works are filled with special warmth and love for the characters of the works. The compositions of the paintings define the foreground, middle and long-range plans. The formats of the works preserve the full size of the depicted characters. The innovation is present in the author's compositional solutions: in the painting "Through the waves of smooth fans" through the water in the aquarium, the viewer contemplates the artist's family (Fig. 11). For the painting "Morning of a New Day", the author chose a bird's-eye view and a fragmentary layout (Fig. 11). The works have realistic qualities of solving the volume, the pictorial and compositional technique correspond to the chosen theme "the method of artistic installation, fantasy and grotesque is boldly applied, but the works are not divorced from nature" (F. H. Yakupov) ^[19], these two authors can also be attributed to them.

 13                 14.

Fig. 13. Yamanova R. R. Winter evening. 2000, oil on canvas, 85x71. Property of T. M. painting RAKH, Kazan

Fig. 14. Fedotov A. S. It's time for haymaking. 1986, oil on canvas, 95x125. Property of T. M. painting RAKH, Kazan

 Representatives of different generations of T. M. RAKH painting worked in the genre of everyday life and the genre of landscape. In these works, it is possible to compare the compositional and coloristic solution of the interior of the hut and the landscape (Fig. 13, Fig. 14). A warm, detailed work "Winter Evening", with a depth of spatial solution, a difference in textile and wood textures in the traditions of the realistic school (Fig. 13). The Makovsky brothers Vladimir and Konstantin left wonderful examples of genre painting, the legacy of Russian painting in this direction is extensive, the work of R. R. Yamanova continues their traditions in the key of Tatar culture. A monumental cold landscape with a solid color scheme, rhythms of stacks, people, horizontal plans (Fig. 14) "The Russian landscape is deeply connected with the centuries-old traditional Russian culture, it is a kind of spiritual experience of the people, the soul" (Moon Yong Dae) ^[7]. In the landscape of A. S. Fedotov, as well as in the works of A. I. Kuindzhi, there is an experiment with the unique phenomenon of light in a thunderstorm, and the breadth of the expanses of the Russian land is conveyed as in the works of I. I. Levitan.

In accordance with the purpose of the study, the creative experience of the artists-trainees of T. M. RAKH in Kazan was studied and analyzed. The value of the experience of innovative, in terms of composition, color and texture, thematic works of easel painting, which must be transferred to future artists, was proved. S.-T.K.'s creative works are valuable professional experience that must be shared at exhibition venues, thereby expanding the exhibition aspect and popularization of this area. the choice of a theme for an easel canvas depends on the socio-cultural conditions of society, its emotional state and the personality of the artist. The compositional solution should be extraordinary and unique. The main component is coloristic, the perceptual perception of painting depends on it. The color lays down the realism or decorativeness of the solution, the color determines the stylistic orientation.

Z. K. Tseretelli, President of the Russian Academy of Arts, about the trainee artists of Kazan: "They work in different genres, but love for their native land, for its history and people, for the traditions of realistic painting unites the creativity of all" ^[11]. During the work of the Creative Painting Workshop, more than 50 artists from various republics and regions of Russia were trained: Mari El, Mordovia, Chuvashia, Udmurtia, Tatarstan and other places in Russia ^[11]. Many of them have already gained recognition both in Tatarstan and Russia, as well as abroad. Their works are in the collections of museums in Kazan, Yoshkar-Ola, Moscow, St. Petersburg, and in private collections abroad. ^[11]. Graduates of T. M. RAKH successfully develop the traditions of S. T. K., instill aesthetics, formed during the years of training in the workshop, to the next generation. ^[15]. T. M. RAKH proved the necessity of her work by contributing to the training of personnel for the art of the republic and the city of Kazan ^[19]. The guidelines of the artists-trainees of the workshop have not changed, the basic remains following the academic direction, the formation and consolidation of professional knowledge, skills and abilities, the use of best practices in promising areas of contemporary art.

Appeal to opponents. The totality of innovations in the conditions of traditional easel painting, the designation of the line between tradition and innovation in easel painting is the subject of discussion with Russian art experts. The problem of thematic easel painting, its further development, innovative compositional and coloristic solutions aroused the interest of many art researchers, which proves the expediency of this study. Among those who have worked in this area, we note several. The preservation of traditions and the obligation to introduce innovations always creates a problem in the visual arts. "Establishing harmony between the two processes of art is always the most important task" ^[21]. Let's agree with the expert, the artistic, aesthetic and formative foundations and their author's improvement are really of particular importance. Expert L. A. Molchanova argues that: "The status of the artistic tradition is determined by two important aspects: the desire to preserve artistic experience and the need for its creative interpretation" ^[20]. The statement proves that thematic easel painting is relevant, must exist and develop, based on the experience at the time. The author emphasizes that the process of transformation of the creative method is innovation in the development of art, the source of which is the socio—cultural conditions of society and the creative activity of the artist. We agree with the author, tradition must develop, it is necessary to have a foundation — traditions for the development of new vectors of creative development, the direction of which is determined by society and the personality of the artist. "Innovation in the development of art is a process of transformation of the creative method, due to a change in the artistic picture of the world, contributing to the formation of features of the artistic language" ^[20]. Let's support this opinion, the essence of any work of easel painting is its inner spiritual content, the artist is not a copyist, the artist is a creator, he reveals and conveys his author's attitude to reality, using author's methods, techniques, plastic language. In this interpretation, the concept of an author's solution is equated with an innovative one.

In her dissertation research on innovations in painting, L. A. Molchanova proves that: "The process of changing traditional art is associated with innovation. But in order to take root, innovations must relate to existing traditions, to some extent rely on them. Innovations that ignore age—old traditions bring chaos and lead to instability" ^[21]. L. A. Molchanova concludes that tradition is always a former innovation, and innovation, if it corresponds to aesthetic values, is a future tradition, traditions and innovations in the work of each artist complement each other. Let's agree with this opinion, there are fundamental origins in every development. There is an opinion: "it seems premature to talk about the exhaustion of any of the existing artistic practices at the beginning of the new century" ^[22]. In this regard, the historically established direction of S.T.K. should develop. "I am not in favor of the statement that the classical academic school is not receptive to modern trends" (H. V. Savkuev), we agree with the opinion of the academician of the Academy of Fine Arts, the art of easel painting based on the realistic school is very mobile in new manifestations and trends with the use of innovations in artistic solutions. A. N. Balash characterizes the causes of innovation in fine art, linking them with the novelty of the creative presentation, "these are often a variety of author's artistic techniques, the novelty of compositional solutions, and the exposition component plays an important role" ^[23]. Which coincides with the author's opinion, the analyst of modern art draws attention to the fact that new technologies, artificial intelligence, claim their primacy in art, taking away the attention of the audience, but "despite modern trends, the painting, as the form in which the artist's thought is enclosed, remains relevant even with developing technologies" ^[23]. Which proves that the easel painting will be aesthetically in demand in the future: "the painting is a kind of brick, from which the entire building of art is built, ensures the identity of art in history" ^{[23, p. 19]}. I. S. Bolotina discusses the future technological component: "Traditional painting is being replaced by its new form" ^[24]. Innovations relate to all components of the painting, including the material and texture used in the work. Creative thinking is inseparable from the technical techniques in the material, when there is a continuity of technology, development and improvement take place. "The sensitivity of the artist is the prism that morally colors any figure" ^[25]. Indeed, the personality of an artist determines the synthesis of innovations in a work of art.

These arguments about the future in painting carry a life—affirming character - a traditional easel realistic painting has the right to exist as a spiritual experience of generations, innovations in artistic solutions give it modern properties.

Currently, the creative workshops of the Academy of Fine Arts in painting, graphics and sculpture have become a practical scientific laboratory for the research and introduction of innovative technologies in the field of fine arts into the modern artistic and educational process (Creative workshops. Scientific Archive of the Russian Academy of Sciences). Communication with the master during training in the workshop, a creative experiment of a wide range of research and application of innovative techniques and technologies in the modern artistic and educational process. provides trainees with training in the workshop (A. O. Bogatov). "In the 21st century, the viewer evaluates the composition built by the artist, the space, the work as a whole" ^[26]. Let's agree with the expert, the attitude of society — the viewer and the artist - is changing, a new vision of art is emerging.

Conclusions and scientific novelty. The art impetus for the research was the exposition of the collection of works by T. M. painting RAKH in Kazan under the direction of H. And Yakupova, the totality of innovations in artistic works has been studied, the value of a creative result has been proved. The attitude of Russian and foreign experts to the phenomenon of easel painting in Russia is considered, it is revealed that easel painting in Russia has a long and rich history, RAX is a support for art education and the development of the art of easel painting in Russia, T. M. painting RAX in Kazan serves as an educational center for easel painting in the region and in Russia. The mathematical and artistic and technical orientation of the works of the trainee artists is analyzed from the point of view of innovation of creative solutions — composition, color, format of easel painting. The main aspects of innovation in the creative approach are highlighted. It is proved that easel painting is made using the experience of Russian realistic art, taking into account modern times, using author's solutions in different genres, which is a confirmation of the hypothesis put forward. The novelty of the research is due to the lack of knowledge of this topic in expert circles. The conditions for the application of innovations based on traditions in easel painting are determined. The results of the study confirm the relevance of the creative work of artists of T. M. painting of the Russian Academy of Sciences in creating new compositional and coloristic solutions in easel painting in the laboratory of the workshop, are the basis for popularizing the work of artists-trainees of T. M. painting of the Russian Academy of Sciences of Kazan under the leadership of H. A. Yakupov.

Note: the article uses the works of trainees-graduates of the T. M. Painting Academy of Fine Arts in Kazan, the works were exhibited at the exhibition "Master's Workshop". Exhibition dates: March 21 to April 20, 2024, place of exhibition: KazGIK Exhibition hall (Kazan, Orenburg tract, 3). Photo from the personal archive of Titova E. A.