伊凡·克拉姆斯柯依Ivan Kramskoi（1837年5月27日——1887年4月6日），俄罗斯画家、艺术评论家。
Kramskoi来自一个贫困petit- 资产阶级家庭。从1857年至1863年，他就读于圣艺术科学院圣彼得堡 ; 他的反应对学术和艺术是“十四暴动”，它拥有一批来自它的毕业生，谁组织的学院驱逐结束的发起者艺术家阿特尔（“Артельхудожников ”）。
俄罗斯革命民主派的思想影响，Kramskoi主张的艺术家的原则，高公共责任的现实主义，艺术的道德实质和国籍。他成为了主要创始人和公司巡回美展（或的思想家之一，巡回展览画派）。在1863年至1868年他曾在一个社会促进应用艺术的绘画学校。他创造了重要的俄罗斯作家，科学家，艺术家和公众人物（肖像画廊列夫·尼古拉耶维奇·托尔斯泰，1873年，伊万·希什金，1873年，帕维尔·米哈伊洛维奇·特列季亚科夫，1876年，米哈伊尔·萨尔特科夫，谢德林，1879年，谢尔盖·博金在其中的表现，1880年）的组成和描述的清晰简洁强调性格的深刻的心理因素。Kramskoi的民主理想发现了他的农民的画像，描绘了丰富的人物的细节中常见的人民代表他们表达最亮。
在Kramskoi最知名的画作之一，基督在沙漠中（1872年，特列季亚科夫画廊），他继续亚历山大·伊万诺夫的人文主义传统通过将道德，哲学术语以宗教为主题。他充满了基督的形象与戏剧性的经验，深深的心理和生命演绎，唤起他的英雄自我牺牲的想法。
有抱负的扩大自己的形象的思想表现，Kramskoi创建了“运动时期”最后的歌，“涅克拉索夫”1877-78关于肖像和流派绘画（的风口浪尖上存在的艺术;“陌生女人”，1883年;“伤心欲绝悲伤，“1884年，所有特列季亚科夫画廊）。这些画透露自己的研究对象的复杂和真挚的情感，他们的性格和命运。Kramskoi的艺术，它自己的急危重判断，以及他对艺术的评价客观的公共标准的执着追求民主的方向施加在民主的艺术和美学的俄罗斯在十九世纪的最后三分之一的发展的重要影响。
Kramskoi came from an impoverished petit-bourgeois family. From 1857 to 1863 he studied at the St. Petersburg Academy of Arts; he reacted against academic art and was an initiator of the "revolt of fourteen" which ended with the expulsion from the Academy of a group of its graduates, who organized the Artel of Artists ("Артель художников").
Influenced by the ideas of the Russian revolutionary democrats, Kramskoi asserted the high public duty of the artist, principles ofrealism, and the moral substance and nationality of art. He became one of the main founders and ideologists of the Company of Itinerant Art Exhibitions (or Peredvizhniki). In 1863–1868 he taught at the drawing school of a society for the promotion of applied arts. He created a gallery of portraits of important Russian writers, scientists, artists and public figures (Lev Nikolaevich Tolstoy, 1873, Ivan Shishkin, 1873,Pavel Mikhailovich Tretyakov, 1876, Mikhail Saltykov-Shchedrin, 1879, Sergei Botkin, 1880) in which expressive simplicity of composition and clarity of depiction emphasize profound psychological elements of character. Kramskoi's democratic ideals found their brightest expression in his portraits of peasants, which portrayed a wealth of character-details in representatives of the common people.
In one of Kramskoi’s most well known paintings, Christ in the Desert (1872, Tretyakov gallery), he continued Alexander Ivanov's humanistic tradition by treating a religious subject in moral–philosophical terms. He imbued his image of Christ with dramatic experiences in a deeply psychological and vital interpretation, evoking the idea of his heroic self-sacrifice.
Aspiring to expand the ideological expressiveness of his images, Kramskoi created art that existed on the cusp of portraiture and genre-painting ("Nekrasov during the period of 'Last songs,'" 1877–78; "Unknown Woman," 1883; "Inconsolable grief," 1884; all in Tretyakov gallery). These paintings disclose their subjects' complex and sincere emotions, their personalities and fates. The democratic orientation of Kramskoi’s art, his acute critical judgments about it, and his persistent quest for objective public criteria for the evaluation of art exerted an essential influence on the development of democratic art and aesthetics in Russia in the last third of the nineteenth century.
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