Alexei Petrovich Bogolyubov

[Тютчев]

Alexei Petrovich Bogolyubov

(1824-1896)

"sailor-artist"

Meeting with Carl Bryullov, which determined the fate of creativity; Arts Academy, the canons of the species of perspective painting, interview with Alexander Ivanov in Rome and in Paris, years of study from the masters of French and German landscape, his friendship with Corot, Dobbin, musical "Sunday" by Schumann; work landscapes in Holland and in the Crimea, in Normandy and on the Volga, friendship and cooperation with Kramskoy and the Wanderers, the joint struggle with the Academy, the Parisian artistic circle, taking care of young Russian artists in France, Turgenev, Zola, Viardot, French musicians, creating a royal Russia first public museum in memory of the revolutionary Radishshev - this page was full of contrasts biography of Alexei Petrovich Bogolyubov, creator of a picturesque history of the Russian Navy, a kind of master of Russian and European landscape. Almost a quarter century Bogolyubov lived in Paris, but the creative and social life of its indissoluble bonds linked to the fate of Russian art.

     Alexei Petrovich Bogolyubov was born on 16 March 1824 in the village of Pomerania, the former province of Novgorod. His father was Colonel Peter Gavrilovich Bogolyubov, a veteran of the war of 1812, and his mother - Thekla Radishcheva Alexandrovna, daughter of the famous Russian revolutionary democrat XVIII century Radishshev.

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     His father spent all his youth in military campaigns, and died in 1830 from the effects of severe wounds received during the war of 1812.

     Mother hierarchy, Thekla Alexandrovna, she graduated from Smolny and, as recalled in Notes sailor-artist "AP Bogolyubov," Being an orphan, after the release remained at the institute and retired, and then great lady. At this time she met closer to the old Frenchwoman ... which had a great influence on its development: they read together Diderot, Voltaire, and so forth. Two of his sons - Nicholas and Alexei - she from childhood to respect the memory of their "seditious" grandfather.

     In 1832, Alexey Bogolyubov was given to the Alexander juvenile case, where two years later he was transferred to the Naval Cadet Corps. Even then Bogolyubov discovered a great love for drawing. The young artist was "... a desperate gaiety and mischievous disposition ...". "A passion for painting ruined me, too, - he remembered - because I hit in his leisure hours in the cartoons, which also augmented my troubles."

     Once Bogolyubov was nearly hit by drawing a caricature of the examination board. Its simple, but take my word that he would not draw until I wear epaulettes.

     In January 1841 Bogolyubov, with seventeen years old, graduated from the Marine Corps and was released with the rank of warrant officer and since then constantly went to foreign vessels.

     Over the years the love of art at a young sailor increased, which contributed significantly to the long overseas voyage, which provided rich material impressionable young artist.

     Survived several paintings and drawings Bogoliubov period of his cruises in the 40-ies ( "Fregat" zealous, "" The ship "Kamchatka", etc.). They are far from professional skills, but they are already there has been a deep and inquisitive at the beginning of the study of nature and life, that so typical of the entire multi-year creative activity the artist hierarchy.

     When we go abroad, Bogolyubov acquainted with the works of the best Western artists. For example, in 1847, sailed as a lieutenant on the frigate "Kamchatka", he went to London, where I first saw Turner's landscapes, with their high spirits, with harmonious colorfulness, with fast-flying clouds and swirling water. "The harmony of colors forever sunk into my soul," - wrote Bogolyubov in his "Notes of a sailor-artist", referring to Turner.

     In the same year on the island of Madeira was the encounter with Karl Bryullov hierarchy. On this meeting Bogolyubov explains: "The Bryullov asked, of course, out of politeness, to show works that were in the folder you made comments about the pictures, but seeing the sketches from nature, he said:" Aha, yes, my dear paint knead briskly, continue and, most importantly, draw stricter. "This opinion of the great Russian artist has encouraged hierarchy, and it is even more energy to work, deciding to devote himself entirely to art.

     With a modern European school of painting Bogolyubov met in 1848, visiting museums in Amsterdam, Haarlem and Rotterdam.

     On the hierarchy of paintings of this period gives a picture of the "steamer-frigate" Kamchatka "(1848, the Central Naval Museum, St. Petersburg). Conventionality of the composition and lighting, naive variegation of colors make this picture like a sketch of theatrical scenery from bouncing on the waves toy ships. It is not surprising that the young artist, attentive to detail but still very inexperienced and far from the skill, wrote imitative and is influenced by marin Aivazovsky, who was then in his zenith.

     At the end of 1848, the President of the Academy of Arts, Duke Maximilian Leuchtenberg performed on the ship "Kamchatka" journey to the island of Madeira. Duke interested in pictures of a young lieutenant and told him to come to grips with painting. "Vice in order to be commonplace officer - he said - be better than a good marine painter, a connoisseur of the ship, which we do not have in Russia, but this specialty is in your education." Subsequently, the Duke Nikolai I got permission to take hierarchy into the Academy of Fine Arts with leaving him in the Navy, because the artist had no other livelihood except those that gave him his naval service.

     Since the autumn of 1849 Bogolyubov started attending the classes of the Academy of Arts.

     The Academy of Arts Bogolyubov learns from MN Vorobiev, and VP Villevalde. But they did not have a hierarchy in such a strong influence, which was the famous artist, seascapes, I. Aivazovsky, although he was not Mr. Professor of the Academy of Arts.

     With Ayvazovsky Bogolyubov met before entering the Academy of Arts and was often at his apartment. It is a strong impression on the young Bogolyubov made spectacular paintings by Aivazovsky, can be judged from his memoirs: "... I saw for the first time such a gloss paint on a canvas that I even forgot Turner. Blue, yellow, white, gray and red paintings just blinded me . "

     The first independent picture of the Bogoliubov - two types of Kronstadt harbor, "Flooding in Kronstadt harbor in 1824", "Battle of the brig" Mercury "with two Turkish ships", "View of the Smolny Convent from the Big Ohta" and "Departure of Duke Maximilian Leichtenberg of Lisbon -- refer to 1851. The last three were awarded the Small gold medal.

     Nevertheless, painting pictures of the first hierarchy is dry and monotonous. Fabrics naive burdened with details that prevent him giving general; songs are "being played", and creative imagination with a touch of romanticism academic now and then replaces the artist strictly professional skill and dedication nature. Most of all, Bogolyubov remains the same in pictures: album of his early sketches, which is stored in the Kiev Museum of Russian Art, gives an idea of the immediacy of live young artist, on his sharp and humorous perception of reality.

     Pictures hierarchy of the academic period are typical examples of the species of painting the middle of last century. But they already felt a strong and persistent desire to study nature and the knowledge of life, to transfer the true and the real state of nature.

     In 1853, for the three types of Revel, performed by the program, and for the "View of St. Petersburg on the coast, Bogolyubov obtained the Grand Gold Medal, who gave the graduates of the Academy the right to a trip abroad.

     Promising-species painting like "skating on the Neva" (1854, Tretyakov Gallery), were only one side of creativity hierarchy, because even in the Academy of its apparent propensity to another type of battle painting. By the centennial of the Marine Corps artist created one of his first battle - "Battle of Athos July 19, 1807. The outbreak in 1853, the Crimean War gave him new material. Bogolyubov publishes Album exploits of the Black Sea Fleet in 1853 and 1854. " and receives an order from Nicholas I: to fulfill seven large paintings from the history of the Crimean War. Despite the hostilities, Bogoliubov, naval officer, produce to resign and immediately appoint a painter of the Naval Staff.

     At the end of April 1854 Bogolyubov went abroad. His path lay through Berlin to Dresden. He left with the firm intention to study in Dusseldorf at the famous German landscape painter Andrew Achenbach. But at this time Achenbach was in Italy, and Bogolyubov went to Brussels and Antwerp. Here he acquainted himself in detail with paintings by Rubens and Van Dyck, and diligently worked full-scale sketches of ships, with a - mind the royal order. Soon Bogolyubov moved to Switzerland, where the advice of renowned landscape artist Kalam, traveled a lot.

     Etudes pensionerstva first years were not free from some conventional color and say that the Academy gave the Bogolubov not much: a feeling of poverty and traditional artistic language, inability to grasp the fundamental point in the landscape. Color is perceived locally. This is the sketch, Geneva Lake near Castle Chillon "(1854), is the same" Sinop "(1856) - Etude in which localization is particularly apparent color: orange sky, blue water, and between them purple stripe lofty shore. The space is constructed as conditional. The landscape "Castle of St. Angel in Rome" (1859) fore, sustained in a brown-black colors, the silhouette stands on a light background, the third plan is drowning in the blue haze.

     Works on location hierarchy are finding their own style in art.

     From Switzerland Bogolyubov goes to Italy, where, moving from town to town, with great diligence sketched various columns, capitals and cornices of the palaces and buildings. Thus, before reaching Rome, where his comrades have been: Sorokin, Iron, Maksugov, Lagorio, Chernyshev, Bronnikov, Davydov, Kabanov, and a number of other Russian artists, Bogolyubov stops there.

     In the spring of 1855 Bogolyubov, together with his friends at the Academy went to the sketches in Naples, Terracina, Palermo, Messina, Sorrento and Capri through the back with them to Rome. The result of this trip were paintings: "Roman Night", "The rapid appearance of the island of Capri," "Evening in Naples, and others. Type Sorrento "Bogolyubov written from the same place as his great predecessor, Sylvester Shchedrin. "The audacity was great - he says - but I always loved the wizard, and lovingly copied his studies at our Academy. It did not go first. I had to write ten sketches - and only then in Rome I was able to finish the job."

     In Rome, fate brought hierarchy with the artist Francois, who introduced him to the works of the French Academy of pensioners "Villa Medici". This is a "once made me a coup - Bogolyubov wrote - and I began to study how these people who grew up in the school of Ingres, Rousseau, Corot and the other new stars, then just opened a new era of French landscape, looking at nature."


     The first meeting with representatives of the French realist painting very soon yielded results: Bogolyubov "more and more go into the simplicity of the lines of the landscape, he wrote very little, but a hell of a lot of drawing and pen and pencil." This helped him master the prospect.

     Work on the implementation of the tsarist order prompted Bogoliubov autumn 1856 to go on the Danube, to write sketches from nature for all combat marine episodes in the Black Sea. Starting with sketches of ship maneuvers, cleaning sails and cannon exercises at the fortress Isaccea, Bogolyubov made numerous sketches of Constantinople and, finally, arrived in Sinop, already "prepared by all the famous battle communiques.

     In Sinop Bogolyubov stayed a month, drew and wrote his "from all sides." Work was difficult - the war barely otshumela, and the situation around was still very disturbing.

     Bogolyubov goes to Paris where he enrolled in a school Couture, and then, having become acquainted with the famous French painter Eugene Isabey seascapes, decides to engage him.

     Using the advice of an experienced marine painter, and working in his studio, Bogolyubov understands "science of painting" and together with the approaches of many well-known French artists: Horace Vernet, Ingres, Paul Delaroche, and later with Corot, Dobbin, Rousseau, Troyonom.

     In 1859 Bogolyubov moved to Dusseldorf and begin to work under the guidance of Andrew Achenbach. Achenbach immediately sends hierarchy of studies in Scheveningen, recommends forget his paintings and guided only by their own views on nature. In Dusseldorf Bogolyubov wrote a series of sketches for large paintings, among which are "fair in Amsterdam.

     "Fair in Amsterdam" (Russian Museum) - typical job hierarchy, summarizing his foreign pensionerstvu. On their story, it still tends to be a romantic landscape: the fight the moonlight with the light of torches, a Gothic silhouette Harlem gate, pointed tower houses shine in the windows and on the water, the dark silhouettes of the carotid vessels. But this picture surprised everyone with its high technical skill of execution and realistic convincing in dealing with such a complex task. In this picture you can judge how much stronger Bogolyubov in the figure, as far as his skill increased, which enabled him to convincingly realistic paintings deal with complex tasks accurately transmit and natural lighting effects. This Bogolyubov succeeded in rising to the level of contemporary Dutch and French artists who painted on similar topics.

     Sober realism Bogoliubov surprised many Western European artists and inspired them to trust their Russian colleague, a remarkable and a great artist. Not accidental that in the studio hierarchy "is often used to sit old Coro, smoking his short pipe, and the artist Dobbin, who was very fond of hierarchy, praised his work and me with him sketches.

     At the end of 1860 Bogolyubov returned from a trip abroad with a large number of paintings and mass unusually fresh and interesting sketches. And when the Academy of Arts staged an exhibition of these works, it became clear that not only the student Bogolyubov Vorobyov, and not only an imitator of Aivazovsky, which was six years ago, but a peculiar, interesting, and a master of what Russia is not yet known. Kramskoy, remembering that he wrote about the exhibition Bogolyubovo: "Before the 61-year about it, nothing was heard. In 1861 he built a liter of a large exhibition of all made by him abroad, and soon became the Bogoliubov, which we know: huge, well-assimilated them to the European technology and some writing landscape. It was very positive, especially for us, while still little known to modern European masters. " Academy of Arts Bogolyubov was awarded the title of professor and is thanked the Council, "because - says the decision of the Council - up to that time none of the pensioners of the Academy upon his return to Russia was not brought such a large number of different sketches and paintings prove, except for talent special work and effort to improve.

     "The exhibition was visited by my briskly, - tell Bogolyubov, - and stood for a whole month... I have made a name for himself, which honestly I live now." Alexander II bought all the paintings in the history of the Crimean War and the "Fair in Amsterdam, generously paid for this work. In 1861, Bogolyubov was approved at the rank of professor and received a new royal order - write the history of sea battles of Peter the Great.

     After the close of the exhibition, which brought him such success, Bogolyubov visited Moscow and returned to St. Petersburg, entered the circle of artists grouped around the Academy and the Society for the Encouragement of Artists. On behalf of the hydrographic department of the Ministry of Maritime Bogolyubov began work on an atlas of the Caspian Sea coast under the leadership of Captain Ivashentseva hydrograph. In 1864 a similar atlas of the Gulf of Finland was carried out together with their captains Bazhenov and Crone.

     In connection with the need to visit the Caspian Sea Bogolyubov and his brother undertook in 1861 a journey along the Volga. The result was an illustration for a book by N. Bogolyubov Volga from Tver to Astrakhan and sketches of the Volga cities. They subsequently formed the basis of several kinds of canvases hierarchy.

     This trip is probably true sketch "Sunset in the Lower" (Russian Museum). Bogolyubov depicted bank of the Volga, which stretches along the town road. On it are the people, raising a cloud of dust, passing peasant carts setting sun paints a reddish-yellow colors the sky and the silhouette of a distant city. Coloring of this study and his mood is very reminiscent of the famous painting of the Tretyakov Gallery "Ipatyevsky monastery near Kostroma, dating back to 1861. It again repeats the same motif of the evening sunset light. The water glistens in the yellowish-green rays of the setting sun. At vysvetlennom summer sky, a sharp red silhouette looming heads of churches and the walls of the ancient Russian city. On the empty shore - women dating overdue fishing boat.

     Of greatest interest to clarify the evolution of the landscape hierarchy represented the Italian sketches, written in the city of Pisa (Russian Museum), the dating of which still remained unclear. Meanwhile, they can be dated with absolute precision thanks to the records in the diaries of the artist. The fact is that due to the illness of his wife Bogolyubov held in Italy, the winter of 1862/63. The feeling of sadness, evokes autumn appearance of nature, imbued with all Pisa studies. They certainly can be called landscapes of mood. They have already guessed features plein air and began an intimate, which will be characteristic of the landscape paintings hierarchy, so the contrasting opposite its species and battle paintings.

     In 1863 Bogolyubov again travels along the Volga and the third, though briefly, in 1869. The result of these visits was a series of large paintings: "Kind of Kazan in the flood", "Nizhny Novgorod with bell bazaar", "Ipatyevsky monastery" Mr others, as well as the huge number of drawings.

     In 1863 Bogolyubov also went on the Don and the Crimea. Returning to St. Petersburg, Bogolyubov finished work on the album travels and in March 1864 introduced the successor to 250 drawings and 25 sketches.

     It was time to think about execution order for sea battles of Peter's time. In 1865 Bogolyubov went to Switzerland and then in Düsseldorf, where the following year and began this work. Most of the paintings created them at the same time, but the whole cycle was completed only in 1876. The second cycle of sea battles consist of the following known paintings: "boarding business with the Swedes at the mouth of the Neva May 6, 1720", "Grengamskoe battle," "Breakthrough Russian galley fleet through the Swedish Cape Ganges Udd," "Gangutskaya battle" "Revel battle May 2, 1780", "Vyborg battle June 22, 1790," Krasnogorskoe battle June 22, 1790, "Paintings" Gangutskaya battle "and" Battle of. Ezel May 24, 1719 " - A battle-painting the top hierarchy.

     In the 50's, recreating the history of the Crimean War, Bogolyubov-winded and dry reproduce historically documented truth. Now he comes to a new and distinct compositional decisions, reaches a large semantic and picturesque expressiveness. This puts his work at one of the first places among the works of the battle-historical genre of the second half of XIX century. Pictures Bogoliubov well thought out and well-drawn. He literally alien Aivazovsky, alien and his mistakes. Sailor by profession, he knew the ship and did not allow amateurish mistakes, depicting the mast and sails. Another AA Ivanov, seeing talent Aivazovsky, foresaw the dangers that he promised easy success with the public. He predicted that the young artist will have a good captain, "and expressed concern about attempts to establish the fame of Aivazovsky's media-bashing. Later on the same wrote in his diaries Bogolyubov. Sea drama Aivazovsky, which most often affect the external beauty and external effects, Bogolyubov sharply criticized.

     The second half of the 60-ies Bogolyubov spent in ceaseless wanderings: 1866 - trip to Russia, then - Dusseldorf, Denmark. 1868 - St. Petersburg again. In the next year - the third trip down the Volga.

     In 1869, in St. Petersburg opened an exhibition of works by Bogoliubov, dedicated to the memory of Professor A. Beideman. After its closure Bogolyubov again travels to Russia, and then went to Holland, Belgium and Germany. From the works have been exhibited at the exhibition, it should be noted the big picture "The Collapse of the frigate" Alexander Nevsky "(1868, the Central Naval Museum) and the Volga species.

     1870-1871 years of the artist, in Paris and, having received the order, engaged in painting Russian Embassy Church.

     By this time the landscape is "Forest in Velay (Tretyakov Gallery). In a quiet forest grove - a dark, overgrown pond on the surface of which lie light shade. Through the tree tops visible a gray sky. Dense foliage seems immersed in a transparent atmosphere. This is a "solitary" nature, but it seems that there is invisibly present people. Tone painting of this picture is based on subtle and combinations of green, it unites this outdoor landscape with the best works of Barbizon school. Bogolyubov appears before us in a new capacity - not as a species by paintings, executed in the spirit of academic romanticism, but as a romantic - a realistic plan.

     Elements of a new relationship to the landscape - of interest to the state of nature, to her inner emotional content - discernible in the work of Bogoliubov in early 60-ies, and especially in the Italian landscape artist, but even more so they are visible in one of the most charming in its simplicity and intimacy landscapes - "Vel. farmyard. Autumn" (Russian Museum).

     Channel sketches prepared by the artist to create paintings "The mouth of the Neva (1872, Tretyakov Gallery), which became a landmark work of Bogolyubov. Even contemporaries were well aware that "comparing and remembering what he has seen us already, out-of-hand hierarchy, it must be confessed that his" mouth of the Neva in many ways represents a significant step forward. First of all strikes are freedom and simplicity of the concept. "


     The wide expanse of the Neva, light silhouettes of buildings of St. Petersburg, lighted ships and shoal of the river, shown on this canvas, full of life and truth. The openness and simplicity of the plot, deep realistic credibility and bold painting techniques used by Bogolyubov, led him "to settle close peredvizhnicheskomu landscape. Close, but distinct. Here's why.

     With itinerants alike in their faithfulness to the principles of hierarchy of realistic art. But in the history of Russian landscape painting, he, like Pokhitonov, who later also mostly lived and worked abroad, takes a somewhat special situation. Even on the national and content canvases hierarchy always prevails bystander beginning. With all the artistic credibility beautiful and emotional structure of the paintings hierarchy has little in common with the Russian plane-air landscape of 70-ies, which in those years all over the motives of expressing the social mood of Russian society.

     Ideological positions of the Wanderers in their work Bogolyubov not shared. Program of the national original art, embodies the burning social issues, it was generally alien to him. Nevertheless, he participates in all the road shows, beginning with the first - in 1871, next year, becoming one of the most active and influential members of the board of the Association and skillfully uses his position, respect and credibility in official circles for the case Peredvizhnik. Bogolyubov was the entree to senior and rulers. As an artist of the Naval Staff, he has repeatedly personally represented the king ordered his paintings, and later was invited to give lessons in painting to the heir and his wife.

     Important role in the rapprochement with the Wanderers played out hierarchy in 1873 from the Council of Conservative Academy, in which he was elected in 1871, and follow his active struggle with the Academy in 1876 on the establishment of Russian Academy in Rome.

     Deep connection that existed between him and the Wanderers, convincingly confirms the history of the Bogoliubov national museum named after Radishcheva in Saratov.

     Progressive undertaking hierarchy was strongly supported by itinerants. After reviewing the project organization of the Saratov Museum Stasov Repin wrote: "To support and develop the art may be only one thing: folk museums to be found in all major cities. While they will not, there will be no real art"

     The first attempt at democratization of art was made by the Association of Traveling Art Exhibitions. The next step in this direction made Bogolyubov, founding Russia's first public museum.

     The idea of creating it occurred to hierarchy in the 50's, during the foreign pensionerstva. "Since then - wrote a contemporary - for all that he acquired, and that he gave on the part of art and books... Immediately the label:" R. M. (Radischev Museum). His art collection Bogolyubov decided to bring the gift of Saratov. It is no accident. This is how he explains it in his diaries: "The idea of establishing a museum and school in my native city of Saratov me has always been, the more that my grandfather, a famous writer Catherine century, Saratov was a landowner and famous nobleman. . . but. . . regardless of personal feelings of attachment to his native province, in my matured conviction that it Saratov, as one of the most important central points of our region, presents special amenities and meets the real needs of the company started by me. "By creating a museum, Bogolyubov wanted to" keep on his memory, raising to defame the name of his grandfather. On the other hand, - he explained - I always thought that every citizen in my terms, is obliged to give all his property to his homeland in order to elevate the educational work of youth.

     A lot of energy and perseverance required Bogolubov, to overcome the difficulties associated with the device of the museum in Saratov. Stagnation and stubbornness most of city government delayed the case base and the opening of the museum for eight lay.

     Many obstacles must be overcome to achieve the highest resolution on the name of the museum "Radischev." And long after that in court circles could not calm down - on what basis in Saratov Museum named Radischev - the name of a revolutionary. "

     Bogolyubov connected the first museum in the province with the name of his grandfather, Radishshev, author of seditious "Journey from St. Petersburg to Moscow."

     June 29, 1885 Inauguration of the first in Russia provincial art museum.

     The next day Radischev museum was open free to the public. By 10 am at the entrance of a crowd of thousands gathered. In the building let in five hundred, six hundred visitors. From 10 am to 3 pm at the museum was visited by 2700 people, but not all want to have time to inspect it on the same day. This is totally unprecedented phenomenon in the artistic life of Russia personally convinced of how important and necessary it was started by Bogolyubov.

     It should again be recalled that in 1885, the Tretyakov Gallery was a private meeting, the Russian Museum and the doors were opened to the public, thirteen years after the creation of a museum in Saratov.

     After opening in 1885 the first provincial art museum, founded by Bogolyubov in Saratov, on the whole of Russia, a wave of organization of art museums. Following the Saratov Museum arise museums in Kharkov, Nizhniy Novgorod, Penza and other cities of Russia.

     Saratov Museum was opened in 1885, the Russian Museum in Leningrad, was opened thirteen years after the Saratov Museum.

     After the opening of the museum Bogolyubov with even greater energy continues to take care of the museum and the replenishment of its collection, as well as the opening of the Drawing School with him. Here Bogolyubov faced with even greater rigidity of the "fathers of the city.

     He did not wait for the opening of the school, which was held in February 1897, three months after the death of hierarchy. The school wore in honor of his name - "Bogolyubov's drawing school.

     Bogolyubov bequeathed to his beloved brainchild - to the museum and the drawing school - all his property and capital in the amount of two hundred thousand rubles.

     Progressive aspirations of the hierarchy, loyalty to the Russian culture and social position defined hierarchy in France, where he lived for a quarter century.

     Paris during his lifetime starts since 1873. Forced to leave their homeland because of serious heart disease, the artist remained abroad until the end of his days. But almost every summer Bogolyubov visited Russia. He remained loyal to the homeland and lived the interests of Russian art.

     In the Paris workshop of Bogolyubov's always going to Russian artists. There were often Repin, Polenov, Antokolsky, Vereshchagin, Pokhitonov and many others.

     Russian artists also regularly visited by General Tatishcheva and in the home of the famous singer Pauline Viardot, where they heard the excellent music and the best European musicians. Bogolyubov remembers that there he met Saint-Saens, Zola, and many other representatives of French culture.

     "Everything was under this roof, high art, - wrote Bogolyubov - Considering an honor to be a brilliant singer and musician ... There were times here and published in the morning, - he continued - organized by Turgenev to strengthen the means of Russian students in Paris Youth he maintained, not knowing failure.

     "Tuesday" hierarchy and "Thursday" Turgenev as if preceded by an organizational consolidation of Russian artists, a last push during the Russian-Turkish war. "The joyful news that the fall of Plevna, - recalled the Bogolyubov - we cheered, we decided on the day of her capture founded in Paris on the mutual welfare of Russian artists. We have collected pictures, drawings for the lottery that is played out here ... Posted by statute over which a lot of trouble to Turgenev.

     Communication hierarchy with the best in Russian art is not compromised, and when he lived in France. Under the direction of Russian artistic circle in Paris, not only united artists living far from their homeland, but also allow them to work. Providing the same shelter and assistance to young artists, which the Academy denied in its patronage, the Russian artistic circle thus resisted the reaction of the Academy and contributed to the development of national art. "The interests of this group were not Paris, and the Russian general," - the words of Mark Antokolsky.

     When IK Repin abroad in 1874 was left without money, it arranges Bogolyubov plum, and the young artist may again take a picture "Sadko".

     Through the hierarchy often receive favorable orders Kramskoy, Savitsky, Polenov and others. The prices for these orders are usually installed itself Bogolyubov, pronouncing at the same time perhaps more favorable conditions for artists.

     In 1874, a galaxy of young Russian artists, pensioners of the Academy of Fine Arts, among which were Repin, Polenov, Kharlamov, Savitsky, Vereshchagin, Antokolsky Beggrov and others, finds refuge in Paris who lived there hierarchy.

     Living in France, Bogolyubov, as always, lots and work productively. On his pastoral style of this period, except for these types of Wöhl, give an idea of dozens of sketches that are stored in the Saratov Museum. One after another, he creates them in a picturesque corner of Normandy, Holland, Switzerland and Italy. Bogolyubov used landscapes replete details - now he wants a generalized form, passes through the images of the nature of their thoughts and feelings, achieves great expressive in a very small-sized canvases. This gives lively sketches from life character sketches, paintings. Landscapes Court in the harbor of Dieppe "," Rocks in Fekane "," Mills in the Wehle "," Laundry workers in Nantes, full of light and air. The air is thick, green wraps, hard mast and sails. On the surface of the water fall reflection from an infinite variety of colors. Similar to Technology performance is to Barbizon, then to the Impressionist manner of writing, sketches hierarchy, however, very directly and bear the stamp of his individual beautiful handwriting.

     But even in those years, working primarily on the landscape, he still returns to the image battles and species perspectives In 1877 Bogolyubov going to the theater of military operations and at the same time completing the work on the painting "The explosion of the Turkish screen" and "Battle of Machin Corps General Zimmerman. Cloth "Case of Lieutenant Skrydlova on the Danube" is finished later - in 1881. And in the late 70's and early 80-ies Bogolyubov created a series of panoramic - Nizhny Novgorod, Moscow, Russia Khamovniki embankment "," Golitsyn Hospital, Moscow, Volhonka, etc. Compared with the early term, they more picturesque and combine the tradition of promising species landscape inherited by the artist from the Academy, with its realistic beginnings of landscape painting from nature.

     Picturesque talent Bogoliubov most fully revealed in the landscapes of 80-ies. Etude Farm in Shamboduane, transmitting the beauty and charm of early autumn, and autumn landscape Scheveningen, painted in muted silver palette, can be called masterpieces of the hierarchy. If his studies in the 70-ies color played almost self-sufficient role, it is now - is one of the plastic elements that help the artist to express their feelings through the image and condition of the stirring of his nature.


     Already in the 60's 70's contemporaries considered Bogoliubov artist, beautifully mastered modern European painting techniques and "writing" landscape. But even then, among his most celebrated works originally-unique little sketches. It is in them, and especially in the last period of creativity, fully unfolded realistic talent hierarchy. Note that in French art during these years it is clear there is a tendency of the subjective interpretation of reality. But Bogolyubov remained true to the realistic truth until the end of life. Even shortly before his death he wrote cheerful, optimistic views, conquering the soft lyricism and depth of content. Just a little sketch retains the charm of living perception of nature and at the same time carries the significance of the finished product, in this - one of the distinguishing features of the landscape hierarchy, which puts it in a special place in the history of Russian landscape painting of the XIX century.

     It is a new Bogolyubov depicts in his latest canvases sea. Painting arrived in Mentone (Central Naval Museum) is full of harsh truth and completely devoid of spectacular detail inherent in the marina Aivazovsky and Sudkovskogo. Stormy skies prolonged zolotyaschimisya on the edges of heavy, dark clouds. Sea, reflecting the last rays of the sun, sparkles and foams podkatyvayas to the steep bank. On the horizon - barely discernible silhouette of a lonely banked mast. Comparison of two powerful elements - the dark stormy sky and the desperate sea - full of deep drama.

     No less significant and interesting than the paintings and sketches Bogoliubov, his drawings. This individual, a large region in the artist, about the size of which may be seen already from the fact that only in the Russian Museum in Leningrad and Saratov Art Museum is kept up to two thousand of his drawings. Of course, they are not all equal.

     Virtuosity and skill inherent in the drawings hierarchy, came to the artist at once. They came as a result of hard work over the decades, thanks to the fact that the Bogoliubov almost never parted with a pencil, fixing his observations, memories or thoughts on anything that turned in his hand: whether a business card or catalog of the last exhibition, a notebook or a miniature notebook .

     Along with the travel random sketches the artist created a number of large easel paintings for which he went through numerous drafts and sketches. These are his "The explosion of the monitor", "Business Shestakova and Dubasova", "Storm", "The collapse of the vessel, as well as brilliant cleaning ink as" Scheveningen "in the Tretyakov Gallery," Venice "," Barbizon "and others in the collections of art Saransk museum.

     In addition, Bogolyubov worked hard lithography, etching and painting china, as well as performing work on the mural paintings.

     A follower of the academic regulations of their species perspective painting, even in recent years, the creator of documented accurate history of the Russian navy, Bogolyubov even in his younger years has been influenced by French and German schools of landscape painting. Working in one genre, even in his mature years, he followed the canons, in the other - landscape - acted as an innovator. These aspects of creativity, combining throughout his life, had little in common with each other. "The combination of a creative hierarchy of two directions - writes AA Fedorov-Davydov, - one associated with the traditions of the Academy of Fine Arts, and another - with realism and plein air, forcing compare his work to some extent with the same duality of art in . D. Polenova. This coexistence of different interests is found in the works and some other Russian artists. In AP Bogolyubov and VD Polenova to them in the first place, obviously, should include IP Pohitonova.

     Creative way hierarchy - a remarkable example of selfless work and dedication, a remarkable example of the struggle for the mastery of high scenic craftsmanship, deep realistic art. Starting to work in a period when landscape is considered a minor genre, which flourished in landscapes with spectacular lighting, beautiful castles and ruins, Bogolyubov, through its half-century career confidently carried and maintained a large and deeply realistic art.

     Creativity and the socio-artistic activity AP Bogolyubov - interesting, original page in the history of Russian culture in the second half of the XIX century in the history of Russian-French relations.



Bogolyubov Notes sailor-artist. Special issue of "Volga", 1996, No 2-3
Andronnikova Bogolyubov. MA: Art, 1962
Kozhevnikov GI Alexei Petrovich Bogolyubov

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Awards AP Bogolyubov

M. Szczecin
Saratov State Art Museum ANRadishev

AP Bogolyubov was the knight of many Russian and European orders.
His first award - the Order of St. Anne's 3 degrees of 24-year-old lieutenant, AP Bogolyubov received in 1848 his service evolved, apparently quite successfully. After graduating from the Naval Cadet Corps, four years later he was appointed adjutant of Admiral AA Durasova, promoted to lieutenant, and soon received his first award. The award is not high - in the hierarchy of orders held one of the last places. But it could expect a young officer, recently began the service. AP Bogolyubov got it in the shortest possible time and one of the first of its issuance. Is significant that this first award, which in the words of the AP Bogolyubov's "many found it in the eyes of his comrades, was received by him in large part thanks to the artistic pursuits - in those years they were written paintings" The arrival of Nicholas I, Prince of Orange in Kronstadt in the winter "and" Steamer frigate Kamchatka. It makes sense to say at once, and that the insignia AP Hierarchy stored in a museum, filled in the form of frachnyh orders. In the nineteenth century the custom arose to replace the massive insignia when wearing them in an informal setting miniature jewelry replicas. The mounted to a metal ligament prishpilivalas to the lapel of his coat.

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In May 1853, following the advice of the Duke M. Leichtenberg, AP Bogolyubov decided to leave a career naval officer in order to devote himself to painting. In the same year by His Majesty's orders, he was appointed artist of the Naval Staff. His first work performed by them in this position - series of 7 paintings on the theme of the Crimean War in 1853 was rated very highly - the Order of St. Vladimir 4-th degree.
With the Russian-Turkish wars 2 nd half of XIX century and connected two awards - "In memory of the Eastern (Crimean) War 1853 - 1856." And "For the Russian-Turkish war of 1877-1878." Each time, before to work, AP Bogolyubov collected detailed information about the actions of Russia and the Turkish fleet, the disposition of vessels, long time spent near the theater of operations, the steam boat went to the site of recent fighting, which saw the masts of sunken battleships, took place minefields, as he recalled himself "reluctantly because the devil knows, swift current and could carry them to the place where the expected passage for ships. But God has mercy.
At the office of the artist of the Naval Staff, he was awarded and one of the highest award France - Commander's Cross of the Legion of Honor, which received a commendation for the creation of paintings "The Russian squadron at Toulon roadstead. She was supposed to serve as a symbol of friendly relations between the two countries in a complex international situation of those years.
During his life, AP Bogolyubov created a gallery of paintings, representing almost the complete history of the domestic fleet.
But the position of the Naval Staff of the artist is obliged to perform and more practical tasks - be the type and essays shores raid entrances and exits, etc. "The work is, perhaps, The simple, but this needs extreme precision in the periphery of the visible lines of mountains, woods or stones, - wrote AP Bogolyubov. Awards for such work, as a rule, were not very high - no higher than the Order of St. Stanislaus 2 nd degree he received in 1864 for the preparation of the Atlas of the Gulf of Finland.
But it would be a mistake to assume that the hierarchy of his contemporaries and artistic activity was limited to only painting of the battle and the execution of orders of the naval department. He was one of the most popular artists, marine painters of his time. Occasions and always with the same success attended AP Bogolyubov at international art exhibitions. Often his paintings before the opening of the exhibitions "withstand rigorous criticism of European artists and the press and recognized them remarkable in its way. Evidence of this are the Danish Order of Danebroga, the Belgian Order of Leopold, Russia's Order of St. Anne's 2 nd degree, the officer sign the French Legion of Honor, the Austrian Order of Franz Josef. From the latest AP awards Bogolyubov refused. By statute, this award gave the right to barony, but it was required to pay 1000 florins for the letter, "but because - with his characteristic irony artist - I thought it better to just be Bogolyubov.
Sam AP Bogolyubov considered the main business of his life creating Radischevskaya Museum in Saratov. And at first glance, the foundation Radischevskaya Museum in Saratov is sufficiently appreciated by his contemporaries - the Order of St. Stanislaus 1-st degree. A few years later, on Jan. 4, 1891 in connection with the 50 th anniversary of the sailor-artist he would be bestowed signs of higher order - St Anne's 1-degree, as it concluded the whole creative path hierarchy. And we see that for his contemporaries, he was primarily a painter, a talented painter.
Thus, the award is not only a reflection of the individual's merits, it allows a better understanding of attitudes to specific events themselves contemporaries.

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I think that would not be superfluous to publish in this topic of the encyclopedia article FA Brockhaus and IA Efron. The article was written during the lifetime of the artist's famous artistic and literary critic of the time Chuyko Vladimir.

        I

«Alexei Petrovich Bogolyubov marine painter, was born March 16, 1824 in Novgorod province, was brought up in the Naval Academy. While still a cadet, B. and paint. In 1839 began the service in the Navy. In 1849, was among the officers of the ship "Kamchatka", which went to the Madera Duke Maximilian Leuchtenberg. Acquainted with the figures AB, Duke advised the young officer to devote himself to art. BA followed the advice of the Duke and in 1850 entered the Academy of Fine Arts student volunteer. His artistic education for the most part he is obliged to Professor MP Vorobiev and BP Villevalde.

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Two types of Kronstadt harbor and for the painting "The flood in Kronstadt harbor in 1824" was granted the highest gifts. In 1852 he received a second gold medal in three paintings: "View of the Smolny monastery and Ohta," "Battle of the brig" Mercury "with two Turkish ships" (from the Turkish War of 1828) and "Check HIH Duke Maximilian of Leichtenberg Lisbon. B. left the academy in 1863 with the first gold medal and at the same time by His Majesty's orders he was appointed artist of the Naval Staff. In that position he is today. Leaving the naval service, BA for seven years traveling around Europe. In Geneva, he enjoyed the advice of the famous Kalama, in Paris, worked in the studio Izobe and within two years he studied at the famous marine painter Andrew Achenbach. In the same 1856 BA was in Constantinople, on the Danube and in Sinop to write some sketches for paintings, commissioned by Emperor Nicholas. Upon his return was given the title of Academician, and in 1860 professor of painting. B. At the same time arranged in the halls of acad. exhibition of his works in favor of widows and orphans of artists. In this exhibition, special public attention drawn the pictures from the history of our fleet, ordered by the Emperor, and in particular its "Sinop" and "Kermes in Amsterdam (now located in the Hermitage). In subsequent years BA has traveled with the artistic goals for Russia. The Emperor Alexander, estimating work and talent B., instructed him to write the story in pictures of the fleet of Peter the Great, these works B. was busy during the last reign. The last Turkish war in its Black Sea and Danube exploits exactly reflected in the work of our seascape. In these works, BN Hydrographic Department, on behalf of the Maritime Ministry, together with the captains Bazhenov and Crown sailed on the Baltic ports in the Gulf of Finland and reefs for the execution of the atlas, portrayed the coast and measurement space ports and rocky passes. The same atlas was done to them and in the Caspian Sea, under the leadership of hydrograph, Captain Ivashentsova. In 1871, B. for the Orthodox Church in Paris several murals. In the same year he gave the Academy of up to 225 sketches in oils and 800 drawings and watercolors networks. The last twenty years BA lives in Paris, only occasionally visiting Russia. Thanks to his initiative, in Paris arranged Community mutual welfare Russian artists, which provides shelter and an opportunity for young Russian artists to work in the public workshop with nature, without any personal expenses. January 8, 1891 on the initiative of the members of this society was celebrated the fiftieth anniversary of AP Bogolyubov: 8 th January 1841 he graduated BA Marine Cadet Corps with the rank of warrant officer of the fleet. It should also be noted the device by Bogolyubov in the city of Saratov Museum named Radishcheva which the artist has a grandson.
Without a doubt, AP Bogolyubov is one of the first, the most talented of our marine painters. It can be put together with the best European seascapes. B. The advantage lies in the fact that he perfectly knows Russian nature, who might be the first to have been reproduced in art works of high denomination bank of the Volga, Oka, Caspian and Black Seas, and many coastal areas of Finland and Gulf of Finland. His larger compositions, part of naval battles also remain in the history of the Russian landscape, some of them, as, for example., A naval battle at Sinop, reveal the remarkable power of composition, the distribution of fine details, excellent color and superb picture. Paintings, executed on behalf of the Emperor Nicholas and Alexander II, form a gallery of nearly complete history of our navy. This gallery can be considered one of the very rare: we do not know in Europe, no marine painter, whose work would present such integrity, diversity and richness. However, the value of BA as an artist is not so much in the artistic depiction of the history of the Russian fleet, as all his works, directly related to the simple sea. The sea and all water, aerial perspective B. knows perfectly; his seascape it can also give a strong poetic feeling. He, along with Lagorio, Aivazovsky and other much younger seascapes - Begrovym, Sudkovskim, Orlovsky, Vasiliev - are the first and, so to speak, the only representatives of the Russian sea. More and more young Russian marine painter, directly or indirectly, are his disciples.

Chuiko.

II (addition to article)
painter; mind. in Paris in 1896 "

About the Authors:

«Chuiko Vladimir

(1839-1899) - literary and art critic. He studied at the Omsk Cadet Corps, then joined the Physics and Mathematics of St. Petersburg. University, but did not finish the course. I listened to a lecture in Paris at the Sorbonne, mostly on philosophy, history, literature and comparative linguistics, studied in Germany and Italy, the history of art, especially painting and sculpture of the Renaissance. On the literary career was made by Charles in 1862, placing in the "Illustrations" long article "The Nature and Knowledge"; since 1866 has worked in the Women's Messenger "and" Nevsky Collection ", which published several articles on modern British writers, in 1867 went to Paris as a correspondent for St. Petersburg. Vedomosti (VF Korsch); during the Franco-Prussian War, printed in The Voice "and" Stock-Exchange Gazette letter from the camp garibaldiyskogo, Geneva and Rome. In 1872 Charles led a critical satirical article in The Voice, since 1878 - in the "News" and also participated in the "Alarm" (under the pseudonym Mask). Several of his articles on the history of literature and the arts published in "Notes of the Fatherland", "News of Europe", "Observer", "Northern Messenger", "Trud", "Novi", "Problems of Philosophy and Psychology", etc. In 1880 gg. Charles made the publication series "European writers and thinkers" in the translation and retrieval (Swift, Boccaccio, Renan, Condorcet, Petronius, Diderot, Fichte, Schopenhauer. Etc., a total of 21 book). Translated and edited translations of Heine, Balzac, Taine, Stendhal, Szajnochy, Lewis, Bret Harte and others from the original works of Charles went separate edition, "The modern Russian poetry and its representatives (St. Petersburg, 1885) and a voluminous monograph" Shakespeare his life and works "(St. Petersburg, 1889). This - the most extensive in Russian book about Shakespeare, written in a lively and literary. »

[Ухтомский]

Name Bogoliubov named Cape (north-eastern entrance point of the bay Ketova) on the coast of the peninsula Muraveva-Amur, Ussuri Gulf, Gulf of Peter the Great. Named in 1912 by PV Wittenburg. In an absurd coincidence the name was mapped with distortion - Cape Bogolyubsky.

http://www.vladcity.com/people/people2/bogolubov/

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First Collection

  Recalling his winnings and losses in Monte Carlo and the subsequent trip to Genoa in 1881, AP Bogolyubov told how impressed the ancient fortress walls, he painted, which he once managed to sell the Genoese for 500 francs. With the money he "immediately bought this old wedding chest XVI century tapestry of the same century, the contents of which, I think, and the devil himself would not guess right."
This is just one of the episodes of the acquisition of artists of different subjects, which was destined to become the exhibits from Saratov State Museum named after AN Radishcheva. Now it is very difficult to determine which was the first exhibit. Maybe it was the first work of the artist himself, which he is finishing the winter in the years of his Marine service in Revel, "had prepared a decent store. At this time the artist was 30 years old and he really connected his life with painting.

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In his memoirs, Notes of a sailor-artist "many pages are devoted to hierarchy acquaintance with museums in Europe. First introduction took place in 1846 with the filing of Duke Maximilian Leichtenberg, wife Grand Duchess Maria Nikolaevna: "He advised me to see museums in Amsterdam, Haarlem and Rotterdam, which I did. But the undeveloped, of course, staring at the great masters as Rembrandt, Van der Helst, Jacob Izaks Ruisdael and others. But I am still amazed and then France Gals, when I saw him in Haarlem full of life works. And since then I have it for some reason stands above all masters of the Flemish school. In future years, living in various cities in Europe Bogolyubov always gives an estimate of each meeting of the museum. After the Brussels Museum, in his own words, "Aivazovsky, our Hermitage Amsterdam, Haarlem, Brussels - all mixed up, start to wander, to boil, and left confusion, from which I could not be established at least in any direction." And further: "Wandering through the churches, I began to look closely to the sculpture in wood carving, and soon became her great fan. I saw a lot of good pictures here ....
But the mention of perhaps the first exhibit of the museum. In any case, it was the first valuable gift you received and stored by the artist. Pasha Sinop, remembers Bogolyubov, - asked me to paint a portrait of his son, the little eight-year turchonka. Not being completely portraitist, but aware that the cartridge is not heavily versed in painting, I painted some little devil in a red fez and embroidered jacket, very pleased with what was left of his father. He offered me a fee, from her I refused, but had to accept a present of a beautiful scimitar in the handle of which was cut into a valuable turquoise.
While traveling along the Volga in the early 1860's interest to preserve the hierarchy and exhibiting antique things began to be implemented. "I went to a monastery in the Epiphany for a preliminary examination and was struck by the ugliness and desecration of the old days. That church burned down, but because all collapsed and died, and that remained after the fire, it was piled in a corner and stood a mountain. Then I spent 3 hours of time digging up all these riches. Enormous chandeliers XVII century, chandeliers, image, burned lamps, old wooden sculptures, etc., etc. - all this was covered with a layer of thick dust. I have selected samples of all ordered to turn away from the door polupudovy iron lock on the temple and all that dragged into the house of the Tsarevich and made this exhibition. On establishment of the museum, it should be noted at this time he did not even dreamed of.
In his memoirs, many subjects related to the fact of donation. Here are some of them. That's great domestic sketches episodes with gifts made by the Emperor during the trip the family of Alexander II on the Volga. In Ivanovo, urban women from middle class gave the Emperor a box in the towel handmade. "But that was in that box? Four fat black beetle with provisions of sugar and lime for a year. That belief Russian - a creature that is a sign of poltergeist happiness. But the embroidered towel was exactly the height of perfection in the work of this kind as an imitation of an ancient sewing on canvas.
Well want Tsesarevich made, for example, with two Siskin in a cage? And we can not adopt, donate a pure heart. "
Notes of a sailor-artist "can trace how the collection evolved, the foundation meeting of the Saratov State Art Museum named after AN Radishcheva. It bought Bogolyubov and given him the work of Russian and Western artists. Talking about the market paintings in Paris and the connoisseur and collector of Western European paintings Nicolae Kushelev, Bogolyubov noted that prices for paintings by French artists at that time were "incredibly cheap. Coro paid 500 francs, 1000 and 2000. "Morning" Troyona cost 8000 francs, Dobin - 1000, "Cromwell" by Paul Delaroche - 12 thousand francs, and now may be tied to him by two zeros.
Introducing Coro allowed Bogolubov successfully market their work. He regarded this fact is easy: "Well, what would I do with all your luggage sketches, if valued by them, not trying to replace with new ones? 200 per se, I bought our Academy, 250 I gave to his museum, and thousands, thank God, walk around the world. "
Museum workers like to repeat the thought I. Grabar that an art school invariably arises in that city, where there is a art museum. This idea is applicable not only to the masters of the Saratov school, but also to Bogoliubov. Traveling through Europe, familiarity with European schools of painting in the museums of different countries, the opportunity to choose a role model - all these forms as creative handwriting of the hierarchy, and a completely accurate representation of what should be the museum collections.
And finally the last push. In Dusseldorf Bogolyubov acquainted with the artist Mihelisom, develop, his workshop "in this museum." Mihelis going to give acquired in his native city. Also, did the Bogolyubov: "When I became the means, it also began to collect paintings and rarities, and finally when I did not become his wife and child, constantly thinking and thought of Saratov Radischevskaya Museum, where the memory of my grandfather Alexandra Radishcheva, now stands a church with all my good and where it will be under the same roof ever Bogolyubov school.

Hope Grishina

Two of the masterpieces donated by Bogolyubov Saratovskumu Museum im. Radishcheva (painting and drawing level of the Hermitage, muses. Them. Pushkin, and Europe's finest museums):
1. Castle Perfon 1860 - e Camille Corot. (1796-1875). 34,8 x 26,7 Oil on wood Gift of Bogoliubov AP annual income: 1885
2. Rain. 1870 - e. Camille Corot 24,26 x 38,5 Paper Dar Bogoliubov AP annual income: 1885

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New results on AP Bogolyubov

Voronov Yu
Saratov State University

Russia and the European public Alexei Petrovich Bogolyubov known as an outstanding artist - landscape painter, marine battle scenes, created nearly three thousand works of art.
A tireless organizer, reformer and educator in the field of art, AP Bogolyubov initiated the promotion of art in people's thickness through the establishment of Russia's provincial art museum and the school concerned. It is no accident after Saratov museums opened in Penza, Samara, Nizhny Novgorod. In this sense the proclamation and implementation of the idea of moral upbringing and education of the general public through the arts for the fruitfulness of his were to some extent comparable with the idea of the elimination of serfdom, a passionate spokesman and pioneer of which was the great grandfather of the Bogoliubov - Alexander Radishchev.
There are, however, such activities by the artist, which are little known to generations of the twentieth and twenty-first century. Being highly educated, in-kind multi-faceted, he possessed not only a gift to paint with a brush, but a gift to paint a word. He left us his memoirs, the magnificent portraits of contemporaries. Not many know of his vast epistolary heritage, but, perhaps, art historians, some historians.

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work is little known memoir AP Hierarchy, issued a separate publication in St. Petersburg during the life of the author (in 1895), entitled "Memories of a Bose pochivshem Alexander III Professor AP Hierarchy. For the hierarchy was natural to leave the grateful memories of the royal personage, he knew Alexander III, Grand Duke, and yet they have for life has a special relationship, built on the interest in art. These memoirs are unique. Of what is said in them about the public figures involved in Russia, the highest state position, it is impossible to find in any modern educational or scientific treatise. The author's memoirs do not set myself the task of revealing all the facets of this personality in his field of vision above all the emperor as a man, in all its manifestations, due, no doubt, his high status. This is understandable, AP Bogolyubov examines the activities of Alexander III, through the prism of his profession, through the prism of the latter to art. This attitude, by the way, throughout the reign of Alexander III (1881 - 1894) was a positive, constructive. Recall that the "good" to create a museum named after AN Radishcheva was given by Alexander III.
That's what Alex Petrovitch writes in his book on Alexander III: «I am an old man, my life as a leader and a man comes to an end, but because you live more than memories of the past, strongly feel the loss of those whom he loved sincerely, with full emotional sense of respect for their intelligence and had useful activity.
Adopted with us in Russia to talk about people who are fortunate that such a man "born in the caul. Saying this I am constantly applied to him during the long years of my life, no imagining, whether I have the right, on my merits as an artist and a man considered himself worthy of the position which I held both in the field of art and society. Of course, without the labor and talent, and without appendages mental, I would not be seen by anybody, but when this natural aid still conscious that I was guided by God's providence and happiness. So the happiness of my life were those unforgettable moments and hours of good fortune that put me in close, direct contact with our untimely pochivshim Monarch
Judgments memoirist of multilateral activities of the emperor, related to the sphere of art, based on specific, historically accurate facts. AP Bogolyubov also tells us about the intention of Alexander III to create a museum of national art: "He could not see how there is a gap in its capital, which has no such repository, wherever in the combined form was submitted to our native art ... Clearly, with this thought many of the paintings acquired The Emperor and bearing in mind it is the future museum. " Museum, as a testament of Alexander III, was founded by his successor, Nicholas II (now a famous Russian museum).
In a small sketch can not be any talk in detail about the legacy of memoirs AP Hierarchy. A welcome development was the fact that had lain in the archival collections hundred years "Notes of a sailor-artist" saw the light in the 300-year anniversary of Rossiyskogo fleet. They were prepared by a known expert on the heritage of the great painter Nonna V. Ogareva and published with some reductions in 1996, the magazine "Volga". She has also created major work chronicles the life and work of the artist, AP Hierarchy "(1988).
Above the "Notes" Alexei Petrovich worked about fifteen years. They were initiated by him in Paris in 1881 and remained the subject of his constant attention to the end of life. In recent years, especially often returned to their continuation. Thus, in 1894 he wrote a chapter on MM Antokolsky. In the same year in September, finishing the memories of IN Kramskoy. By mid-1895 completes the sketch of the NN Ge, in early 1996, appends a chapter on VV Vereshchagin.
Amazing warmth, sincerity permeated memories of Alexei Petrovich of Ivan Turgenev, with whom he was a friend of many years. "I saw the last time Ivan Sergeyevich Buzhevale, returning from St. Petersburg, has not yet gone to TREPORT ..." Thank you for coming, Bogolyubov, and tomorrow, perhaps, not be found. I have something to say, but he said quietly: "my song is sung, with the land all over me. It remains to say goodbye to friends "... my heart ached, looking at this giant of the mind, heart, and tears were glistening in my eyes. Here Ivan Sergeevich again asked me: "Farewell, Bogolyubov" and offered me his hand which I kissed. "Why do you do, - he said softly .- You love people and I tried to love them as he could, so love them always, good-bye." I wept and went out. Such a feeling of sadness with me again in the third RAE, when I closed my eyes the mother, the other - when the wife died, and the third, when I said goodbye to Ivan Sergeyevich. " Epistolary, memoirs heritage so extraordinary man worthy of a full resurrection, a deeper study, the more so that his judgments about art, about writers and artists came from the lips of a professional high class.
Deaf silence in the twentieth century about the literary heritage, AP Bogoliubov explained. His views, relationship to the existing public and social institutions of that time did not coincide with the political, ideological doctrines of the past century. In its many creative and social activity, AP Bogolyubov maintained contact with representatives of various circles, including the court, and even emperors. Being a true patriot, adhering to the life of democratic views, he has used such bonds to support the artists, the development of Russian art and public education. It is no exaggeration to say that in this sense he seems to continue a tradition that dates to the work of the great forerunners - Mikhail Lomonosov, who resorted to the relations with crowned heads to help Russia's science.
Living outside the homeland, AP Bogolyubov was her faithful son: "I love Russia and I will always love you. The merits of it, as IS Turgenev, in bringing together the cultures of Russia and European countries are very large. This is evidenced, in particular, its many foreign decorations. To paraphrase the words SP Shevyrov addressed to AS Pushkin, one can say: "Bogolyubov was the plenipotentiary ambassador of Russia to the European Chamber».

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On the "Notes sailor-artist"
   
     In 1996 th, when Russia celebrates the 300 anniversary of the founding of his glorious regular fleet, finally see the light "Notes of a sailor-artist" - memories of a sailor and it is the artist, a wonderful Russian man Alexei Petrovich Bogolyubov, creator of the unique artistic value and historical significance of a series of paintings glorifying the history of the domestic fleet two centuries of its existence from Peter battles in the Baltic Sea to the holiday in Cherbourg, in honor of the Russian-French Union in 1896.

     In life, in the second half of the XIX century, AP Bogolyubov was famous, found coryphaeus Russian art. In XX century, it is rarely remembered. Readers of the Notes is easy to understand why a straightforward black-and-white Soviet times, it rejects. And, thank God, that to an end our century began gradually to take the world volume and multicolored. Now, free sigh, can not only pay tribute to the many aspects of native history and forgotten by its creators, that certainly applies to AP Bogolyubov, but also learn from their ability to serve the motherland, love people and prepare the future of Russia.

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     And yet - this edition of Memoirs of a sailor-artist "tribute to the descendants of the artist and public figure Bogolubov, the first Honorary Citizen of Saratov, endowed the city Radischev Museum - now the State Art Museum. AN Radishcheva and Bogolyubov drawing school - now the Saratov Art College.

     100 years kept his "Notes of a sailor-artist" in St. Petersburg, in the Manuscript Department of the Petersburg Public Library. Return them to identify himself Bogolyubov in his will to the original condition: "2000 pp. Put on the interest and the documents to give to St. Petersburg. Public Library along with the package, where the" Notes of a sailor-artist. "On the package to make the inscription:" To issue after 22 years. "During this time the capital increase, and then the Office of Library to share his half, will select the writer is able to put in order my notes, correct spelling, but to keep my style and slovovyrazheniya. then the other half of the money shared in the same issue, to provide sales and proceeds to give equally to my school and museum Radischev ...". (Fully testament - a remarkable document - contained in the book NV Ogareva "Chronicles the life and work of the artist AP Bogolyubov", published in Saratov in 1988.)

     Bogolyubov undoubtedly wanted his "Notes" were published. Caring about the future edition of his memoirs, Bogolyubov as always generously left the Public Library in St. Petersburg four of his figure, executed in ink and pen, - the graceful landscape screensavers to letters. On the back of one of them - a marina from the barge under sail - wrote: "In memory <to>, who will be my notes, are these pictures (RO, f.. 82, № 13, 14). But 22 years occurred already installed on the post-revolutionary time. There was no one to fulfill the will of the author - all became public. Zasurguchenny canvas bag revealed, "Notes" zainventarizirovali - 6 rather thick notebooks, which we today would call a general, became part of the personal fund Bogolyubov (RO, fax. 82, № 1-6).

     In fact the Notes, in this fund are available and other materials - letters, pictures and some memories hierarchy about the artists, "Sketches", from which we have attached to this publication is an essay on the IN Kramskoy.

     Probably starting to write "Notes", Bogolyubov believed that amusing reminiscences about the past and makes them only for myself, but then I realized their wider purpose. In the text find the observation: "As I write this for myself, but if and when will my manuscript read by someone else, we have long since we rot and decay in the ground and I did not get, and anyone, let me and inveigh against a heresy. I'm not afraid, because I write unspiteful, as well, syllable gay man who loves jokes ...".

     And in fact, unique memory hierarchy, written in an extremely relaxed, you might say colloquially, usnaschennye funny incidents, funny scenes, figurative, paintings and truthfully told us about many serious and grievous. In them are angry, and feeling pathetic. And sometimes - was a phrase from a piercing pinching words blossom and psychological insight. He did not embarrass himself with generally accepted understanding, most of his opinions about people and about myself, judgments about art and historical events are unpredictable, extremely candid. The feeling of self-sufficiency led his pen, but sometimes it turns against itself, diminish the scale of his personality.
   
        Literary self-portrait, with which the reader will get acquainted on the pages of "Notes" is permeated with self-irony and not quite the same as this Bogolyubov. Here he wrote: "Scientists for a deep, I never recognized ...". But he was brilliant, European-educated man, who knew several languages, creating a link between the knowledge of two fundamental, so different sciences - Marine and artistic, attach them to the activities of high class. Or we read: "... theory of literary art and the fate of thought oppress themselves completely superfluous." Yes, futile theories, he was not involved, but all the movements in art had his own opinion historically advanced and applied it in practice, knowing that to be done on a national scale - to educate young people in a professional and modern. A professor who generously gave force mentoring, and all free of charge, at the command of the soul. Among his beneficiaries were Repin, and Polenov and II Shishkin, and VD Orlovsky, and favorite artist PM Tretyakov - IP Pokhitonov. He trained marine Naval Infantrymen - AK Beggrova, NN Gritsenko, MS Tkachenko.
     As the state action he designed in large provincial cities in Russia device art museums and two decades gave the organization a public art museum and art school in Russia's province to "the education of youth! Radischev Museum in Saratov was the first. His example was followed by Penza, Samara, Nizhny Novgorod and others.

     And his contribution to the establishment and development of Russian-European relations of art! All this and much more truly a fateful its activities for the development of national culture and art, including the XX century.

     In his museum and his school in Saratov grown world-class masters, the pride of art of XX century - painters VE Borisov-Musatov, PV Kuznetsov, sculptor AT Matveev and dozens of other first-rate artists - AA Savinov, PS Utkin, DF Tsaplin, VM Yustitsky, engravers AI Kravchenko, PI Polyakov, AV Skvortsov, and many others, until the present day.

     While living in Paris, tirelessly working, surrounded by friends, colleagues, Russian and French, Bogolyubov homesick for Russia. Remembered him Neva, "bristly Moscow Kremlin", Volga ... And on Dec. 25, 1881 he began to write his "Notes" in the house number 11 on the Boulevard de Clichy, between dance (square) Pigalle and Clichy dance. In the long evenings almost 15 years he will be looking at the memory of the past, and sometimes only record that has taken place, for example, death IS Turgenev, for which there are words that reveal the noble, intelligent, loving, tender soul of the hierarchy.

     But it was not destined to finish Bogolyubov "Notes". During their stay beyond the last of his 11 years. Pity. "Notes" concludes on the fact that he and his brother went to Saratov open Radischev museum. And how it happened and how he prepared for the opening of the museum, we already know from other sources.
  
    Do not have time to tell about his great friend, wife, civil, Parisienne Baroness Elise Shivr who devotedly loved him, took Russia's allegiance, Orthodoxy. She died six months earlier Bogoliubov Radischevskaya and bequeathed to the museum and the school his entire fortune - about 100 thousand rubles.
     We learned we had and the dramatic failed attempt with Kramskoy organize the first congress of Russian artists in 1882. Told he and his anniversary - 50 Anniversary activities in January 1891. It then has to determine its place in Russian culture. The celebration took place in Paris and in absentia in Saratov. Bogolyubov was filled with telegrams. There was, perhaps, a single newspaper in St. Petersburg, Moscow, Saratov, Paris, London, which had not responded to this event. Friends, Russian Parisians and the French in recognition of his artistic merit ANNIVERSARY presented with a gold palette with the engraved autographs. This palette to 1941 was in Radischevskaya museum, but was removed for the war and died in its flames.

     Perhaps the artist AP Bogolyubov opened to us the mysteries of a wondrous their little lyrical paintings of landscapes and magnificent large canvases, damaging the beauty of the composition. Who knows ...

     Life AP Bogolyubov was rich not only events - the radical turn, the combination of seemingly incompatible.

     At first - like all the outstanding naval officers. "Dashing gentleman" - a merry fellow, bacchanal, an excellent campaigner, spoiled principalities and comradely friendship. He was waiting for a brilliant career sailor. But in thirty years, everything changes. Graduated from the Academy of Arts. Ahead - a grave and joyful way to a brilliant artist - a painter and draftsman, landscape and sea-battle-the path of artistic figure.

     Fate has blessed hierarchy happiness and love gave to know the tragedy of losing her ambulance. But how would reimburse the loss of fellowship with people such as IS Turgenev, IN Kramskoy, Tsar Alexander III.

     In the Notes referred to as his Full Tilt and Nicholas I, and Alexander II, but Alexander III, is the heir, was particularly disposed to Bogoliubov. Relations between them were based on interest in the art, full of understanding and trust. They were some, so to speak, equal, of course, with observance of etiquette. Bogolyubov years could not fulfill the request of Alexander to write this or that now, could afford to Csete heirs services - for example, over the years donated to lead the arts Princes Maria Feodorovna.

     In the "Notes" side of life, this hierarchy is reflected in some detail. Very interesting to read about how he could reconcile Bogolyubov royal will and Radischev question how he, in fact, made the legalization behalf Radischev. Much of a hierarchy king did for Russian art and, conversely, Bogolyubov through the king. History Museum in Anichkov Palace, which grew later in the Museum of Russian Art of Alexander III (now the State Russian Museum in St. Petersburg), has not done without the participation of AP Hierarchy. Like so many other things - the reorganization of the Academy of Fine Arts in 1893, the completion of the Hermitage collection, removal of the ban on pictures of IE Repin's "Ivan the Terrible", etc.

     Proximity to the court will not interfere with Bogolyubov be an active figure in the opposition of the Association of the Wanderers.

     All the roots and thoughts associated with Russia, the last 25 years, Bogolyubov was forced to live outside it. And only a couple of summer months to the Motherland - doctors intimidated harsh Russian winter. But in Paris he lived in Russia and Russian paintings.


     Nature has endowed AP Bogolyubov's many talents - communicating with people, art, hard work ... And one of the rarest in Russia. He was a man of enviable energy - smart, good, springy, disciplined and knows where to direct their forces. That is why he managed to embody everything planned and in the works and public arena.

     The merits of hierarchy in the marine service, in art and how artistic figure recorded in Russia and Europe. He had the highest rank of Privy Councilor. Was a knight of Russian orders - a few degrees of St. Stanislaus, St. Vladimir, St. Anne, was awarded the Danish Order of Danebroga, the Austrian star of Franz Josef. From the Austrian title of Baron dismissed. France said it works, first officer's Cross of the Legion of Honor, the most glory shall then - Commander's Cross of the Legion of Honor. When he died in Paris on the night of November 7, 1896, the coffin carrying his guard with music and banner Battalion 28 th Regiment of the Line of the French army.

     Sam AP Bogolyubov in the journal "Russian Antiquity" (1888, v. 60), entitled "Notes of a sailor-artist. 1856-1857" published a chapter, tells of his trip to the Middle East, to Constantinople, and Sinop, to gather material for paintings of the Crimean War .

     Can not say that "Notes" did not attract specialists. Acquainted with the manuscript of art historians, particularly members Radischevskaya museum. Even before the war, GI Kozhevnikov began perebelivat manuscript. In early I960-ies continued and completed the job, NV Ogarev.

     Post has quite a small part and only in special editions - of Alexander Ivanov, IS Turgenev and IN Kramskoy.

     Many of the particles of the Notes, as verbal illustrations included in the book "Chronicle.

     Journal "Volga" prints "Notes of a sailor-artist, full of very minor exceptions, caused mainly by technical reasons. Preparation of the text was carried out on the recommendations of the author. "In case if it had not led me to finish my notes, my rough notes must be the end of my work, why they are sure to put". "Those who will be responsible for lead my notes in order, must be repeated to insert in my descriptions, but the issue that is not necessary. But if the idea here is not listed, you can not miss it, and where you can insert and stating same subject.

     The manuscript "Notes" volumetric - several hundred pages. Only about a quarter of it - the beginning - completely rewritten by the author, else - drafts, many disparate and complementary, repetitive notes.

     To give harmony to the story and follow the author adopted the principle of chronological sequence, had to collect and compile a common text, scattered pieces of the dock. Given the nature of magazine publishing, docking is not specified.

     For readability, put chronology - given the years before each period described, and continued the division Bogoliubov text flow into paragraphs, chapters and podglavki, whose names are stylistically correlated with the author ..

     In preparation for the publication of course remained "syllable" of the author, and remained inverted manner of constructing it. But in some very rare cases when impeded understanding of the content, edited by the phrase, brought into line with the rules of Russian grammar. Rough pages have been contaminated by volatile epithets, stamp - "So," "Yes," must do justice, "" one day "and others. Of course, they simply had to remove when they accumulate in the vicinity, or were used in inappropriate combination. For example, the death of a good man Bogolyubov wrote: "One day ... ... imyarek died. Of course, such reservations have been withdrawn. I had to sacrifice part courtesy of the XIX century and omit the word "lord", "professor" if they were repeated many times and next. With frequent stratification titles - the Grand Duke, heir, Tsarevich - Choose one. Unfinished words, shortened names, last names - are restored. The manuscript is often present title, certain words and phrases in Italian, French, German. Whenever possible, if not contrary to the style, they are translated. But sometimes the combination of Russian words and foreign attaches particular telling phrase, and then the translation was imposed as a note under the row. Publication of the Notes is equipped with two types of comments. Lengthy made for the main text, and maloslovnye a row.

     In the memoirs Bogoliubov mentioned hundreds of people. For the convenience of the reader is given a pointer names, of course, not all, and with minimal explanation. Some names have remained unsolved, and axiomatic - Shakespeare, Dante, Pushkin and others - are not included in the index.

     Author of "Memoirs of a sailor-artist, thanked the Public Library in St. Petersburg, the journal" Volga ", Saratov Museum. AN Radishcheva, Moscow Center of Culture. AP Hierarchy for the opportunity to note the publication of this 300 th anniversary of the Russian fleet and the 100 th anniversary of the death AP Hierarchy.

     N. Ogareva

[ранжер]

Wonderful! The abundance of material is impressive. Number already be transformed into quality. Let us move from theory to practice. You feel that you are deeply in the material.

Would it not be so kind as to comment on this picture?
It has already been discussed at the forum, but would like to know the opinion of an experienced person.

Oil on canvas, 39H18, 5

[Тютчев]

Сообщение от ranzher

Would it not be so kind as to comment on this picture?

ranzher, those advances have been made to me and forced me to seriously come to put your question. I'll try to deal with this picture. First, try to understand what would make us think that this work hierarchy? First, a signature-like hand of the Master. Secondly, some colouristic similarity with the works of the artist. Thirdly, spelling out rigging, as it was proper to Bogoliubov and his disciples Begrovu.
      Now the details on each of these items. But with prejudice.
      Signed. In our case, the signature is not very similar to the signature hierarchy. Alexei Petrovich signature firmer, more confident. This - some not so. But to say first that I myself do not think the signature key element in proving the authenticity of the painting. As the absence of a signature does not prove that the work does not belong to the brush of an artist, and its presence can not be absolute proof of its authenticity. Moreover, even the presence of a false signature proves that the work was not written by the master, to whom it is attributed.
      Palette is similar to the palette hierarchy (how to judge picture). The predominance of ocher and the presence of two bright - green and red - the spots (center of picture), with the overall color of restraint, are characteristic of this wizard. But even the presence of these signs does not convince us that this work is hierarchy. The fact that the overall impression of this work does not correspond to the impression, which is produced by the work of Bogolyubov. No characteristic hierarchy picturesque harmony. Colored spot in its combination does not form a scenic integrity, and disintegrate and there as if by themselves.
       Indeed, rigging registered in Bogoliubov great detail. But written carelessly and in combination with the color divisions, as discussed above, reinforces the impression of total disharmony exercise.
      If we talk about composition solution, it is generally not the case for hierarchy. Alexei Petrovich, working on sketches, have always tried to picture, even a tiny sketch (with all its picturesque conventions) or a drawing - it's always a little picture with a perfect composition. In our own work and cut off the ship and boat, without any kind of composition has been substantiated. In short, the impression is that the picture is cut off or cut from another, or the artist wrote podsmatrivaya nature through a fence. Below I have given the work that is vaguely reminiscent of songs before us. But, believe me, I had to work hard to find it, and applies it to the 80 th year (it's years of creative maturity of the artist), as purports to Bogoliubov our image, and the 50-m. That is, to the very beginning of the creative ways the artist. Even so, it looks much more advantageous than ours. What confirms the fact that the artist has successfully solved the complex, similar compositional tasks at the dawn of its creation.
      In addition to pictures of 50's. I bring in proof of his innocence, the two works (similar in size to that proposed by you sketch), which depicts Havre. And each of them, and especially the French ship in Le Havre ", give this idea of the highest skill of the artist.
      It can be assumed with a very large stretch of the imagination that the work of someone from the students Alexei Petrovich Bogolyubov. For the hierarchy of the sketch is too weak. Do not forget that during the lifetime of Bogolyubov was recognized not only in their homeland (which in itself is not enough), but also among the masters of French painting at that time. But that's another story.



1. Antwerp. 1854 Oil on canvas on cardboard, oil. 32.5 x 40.5 cm
2. French ship in Le Havre. 1880-1890-e Wood, oil. 41 x 27 cm
3. Havre. 1880 - 1890 - e Oil on canvas. 27 x 41 cm

[Тютчев]

Notes of a sailor - artist

under the shadow Radishcheva

On the road from Petersburg to Moscow
   
Do not sold my grandfather pancakes
In the princes did not jump out Khokhlov
No singing in the choir with the sexton,
Do not polish the king's boots,
And he was not a fugitive soldier ...
 
Pushkin

  Was Alexander Radishchev that gives me the right to take their origin is not servile. His daughter, Thekla Alexandrovna Radishcheva, married my father right out of the Smolny Convent, which was given to the orphan's upbringing, along with his elder sister, Anna. His son, the youngest of them, Athanasius A., was admitted to the Second Corps, where he graduated from the training. In 1816, released an officer in the Guards Cavalry Regiment.

     My father, Colonel Peter Gavrilovich Bogolyubov, was a disciple of the First Cadet Corps. Issued to officer in 1800 and immediately made a trek through the quarkonium. Then, in the course of the entire French campaign until 1816, remained in the body of Count Vorontsov. In France, in Nancy, was seriously wounded. After that I was searching for a late service, and finally, in the service, died from the effects of wounds received in the stomach.
  
     1824-1830

     Children from father and mother were two of them: a brother Nikolay and myself. Service father was at the St. Petersburg-Moscow highway, where there was a military-working team of several battalions. He commanded the third, located in Chudovo, Tosno, Luban and Pomerania, where I was born March 16, 1824, and where my early childhood was spent almost unconsciously. I remember, however, that there was wonderful for a child's imagination coaching house with a big yard, with directions for imperial rooms and Innkeeper Elizabeth I. Minushkoy with her daughter who drowned in a pond. Next was our house. It fits to the garden post office. There were swings, curtain with currant, strawberry ridge, and deep - a pond where drowned Minushka and sauna. Our house was a two-story, a peasant, with a large yard, where the crane go, turkeys, chickens, ducks, and every dog. Sometimes it was brought up immediately bear.

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     He loved animals and was a kind of artistic, drawing badly, loved the pictures on its funds, prints, engravings. Repaired watches all his friends, sharpened with angelic patience finest wheels clockwork. Built their own means sleigh, carriage and all those engaged in business with the utmost love. He was a kind and honest, and therefore was not rich and at death left a family of small little money, which our good mother has kept for us, but not increased, because, although she lived poorly and humbly, but it is, however, did not prevent her help your neighbor and help yourself all his friends. About her, I kept the highest and lovely memories. And if me is that a decent and kind, they are all reared its sensitive intelligence and high morals. It was the first we have to our knowledge, because the other teachers before joining the Corps we did not have. As a ward of the sixth issue of the Smolny Convent noble half, she was raising quite fundamental, though not extensive. Well known languages, arithmetic, history and geography, but God's Law. But this small program has been developed it in detail and digested with a rare knowledge, and with regard to aesthetics and love of beauty, all this was evolved cognition literatures have his intelligence and taste. Being an orphan, my mother stayed at the Institute of retired, and then the year great lady. At this time she met near the old Frenchwoman, French teacher, who had a great influence on its development. Together they read Diderot <Diderot.>, Voltaire, and so on.

     How memorable to me her face, it was nice to old age. Straight nose, lovely blue-gray eyes, brown hair, good growth, lovely mouth and some neuhvatimaya smile of kindness made her a pretty woman. Coquetry was not here, but with whom she was flirting, and living in the Smolny Convent in the circle of old widows of poshiba. I will say that the widow of this house was the lot of widows of distinguished people.

     It was then that she herself is fully devoted to our education and not keeping under their skirts, talking about everything that was decent in our age, so that by engaging in life, we all knew, but in a form that can be intelligent and moral woman. There was no topic about which we would not allow themselves to talk to his mother. Complete frankness and suggestion credibility was her moral principles and our payment to her for all her kindness and prevention. So later, when she was gone, I have often told his brother: "Let one of us is more loved?". And both, thinking, answered: "I never noticed that you preferred to me".

     1831

     On his father's death (1) we have been orphaned deserved rights, which gave the right to enter the Corps of Pages, so it was done. My brother soon came time income Alexander Tsarskoselsky juvenile case, where he was and took his mother, placing fourth in the Marine company. At the bedside of his ticket bore the "The page". But soon the fate of our variables and, on the advice of AA Kavelina, a former teacher of Alexander II, his father's friend, we were transferred to the Sea, on the de basis that without the means to serve in the Guard badly. In the Marine corps give the same mathematics education and director of the IF Krusenstern - a learned man and intelligent. So I shew this mother, and then testified that she was an intelligent woman, went not out to us for a prominent career officer of the Guards penniless with aristocratic appetites, to the satisfaction of which the young man unwittingly drawn the rich partnership.

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     As said above, my mother taught us all that is befitting our age. I was always very frisky, but because she often had to do my suggestion, but all the while teaching her active love for us, she never let me flogged and slapped, that would then be entirely in the spirit of the times, because I shall give an example, in Alexander's juvenile case I flogged 17 times yes 2 - in the Sea. But this I will say more later. I remember that one of the actual punishment it was - thread, tie me to a chair, in order to tame my excessive speed. In such cases, I always sat smirnehonko, not daring to break my heavy fetters.

     Prior to joining the mother in the house Widow we lived together with his uncle Athanasius Aleksandrovich Italian manor house Struchkov. The room was modest. The furniture was paternal, and his homemade taste. After his death, she was very worn out, so that the mother herself and bought Gudulu obila svoeruchno it, but I also tried to help her as best he could, so that earned her praise for consideration in the work and artistic taste. He saw it in me long ago, but because the holidays are no other gift is not made, except for pencils, paper or paint, so I was a painter, almost from the age of four. Drawing herself she did not know how, but always seen in the figure wrong and it could provide. In the ill-fated first hour of cholera in St. Petersburg's mother took away our village, in Kushelevka that some of the Forest Institute, hired a peasant hut in the 25 p. banknotes; here we stayed until the autumn. I vaguely remember the stories about the horrors of cholera, a scourge of humanity, from the cook of our Darya.

  1) PG Bogolyubov, died July 8, 1830