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