Bruni, Lev Alexandrovich

[Тютчев]

Сообщение от FAIv

Lev Alexandrovich was a terrific wife, Nina K. Balmont, daughter of the poet Konstantin Balmont. She survived her husband for 41 years. My mother was friends with her in the early 60's. In early childhood, I was in their apartment somewhere near Dobrininskaya am, although I can be wrong. It was a fantastic friendly, cheerful and very hospitable home. Nina K. was the head of this house for many decades, and has done a lot to preserve the memory of her husband and father.

«This is Nina K. - nee Balmont. They married when she was still quite young, just over eighteen. Her mother - a decent, respectable Catherine Andreyevna - feared that the daughter of the JNA, and his father, Konstantin Balmont, said: "Well, if you love, then, of course", - says art Valentina Bialik (Tretyakov Gallery).

«And soon with all the growing insistence sounded" music revolution ". She succumbed to the hypnotic rhythm of many, but not Lev Bruni. For it is far more important was another sound - let no one else heard, but for him a distinct melody of its own destiny. In the summer of 1917 he traveled to the Urals, in Miass. Lives there with his family Konstantin Balmont and goes to school the poet's daughter - Nina. The wedding of Nina Balmont and Lev Bruni held in the same Miasse spring of 1919.
Around the world will crumble in the chaos of civil war. They go to the east - in Omsk, then Novo-Nikolaevsk ... "Tanya YUDKEVICH

Nina K. Balmont Bruno

Conducts conversation VD Duvakin

      D. Nina Konstantinova, we started to talk more about other <...> I would like you to, firstly, tell your conversations with Pasternak.
     B. There must be very precise, to repeat what he said.
     D. Or, if you want to think about it specifically, it may be - this is you, in my opinion, easier and more pleasant - just tell us about his father. This is mine the only record of Balmont.
      B. This is also a need to prepare all over again, that such a huge, vast ...
     D. And you did not prepare?
     B. Where there is! "Before eh, my dear, it was a soft glaze with us ..." 1.
     D. you today, though, is not in form, very tired.

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B. I'm a lousy feeling. Well, you know - Pasternak ... I went to him, I have been with him topics to talk ... And then ... He thought I was among his friends. He and I have also lived and breathed beside me. I absolutely it ... And talk something was not ... Simply allow to be present in their lives.
     D. So you watched closely this life?
     B. Yes. I am very friendly with his wife, but most of all after his death, of course, with Zinaida Nikolaevna, with his malchikami2. Well, Zhenya something I knew long ago ... I remember a Stasik's birthday, 30 years old he was, Stanislaw, ... and ... Ivanov3, which is terribly drunk on his birthday, was to expose BL, that he himself is terrible that all his friends have to fill their cars with gasoline and flee to the ends of the earth, that he puts them in a position where they must either flee or reject it: "You would at least have pity on us, are not you ashamed" ... Here's how it is so. And Boris Leonidovich began answering him ... I can not restore what he said ...
     D. is very important.
     B. I can not restore it in memory. He said something: "Well, you know how it is: fried potatoes, and now oil is over, begins to stick ... Oil - a literature ..." Here are some things. Once I was admiring them, and I missed the main so ... True, it was there and drank a lot, and people of the mass was and all that. I inquired, as he gave the manuscript ...
     D. "Zhivago".
     B. Yes. I remember how he came to Akhmatova, she had translated "Chinese wall" 4 and invited him to listen. He sat and listened, then quickly began to gather and said: "I must go, I need to work." She said: "What do you write a novel?" He said: "Yes." So Akhmatova broke out: "Why do you need?" 5
     D. against the novel?
      B."... such beautiful poems he wrote ... "
     D. Oh, when he left, she broke?
     B. No, then, that evening.
     D. When there or ...?
     B. No, he was gone, of course.


-------------------------------------------------- ------------------------

Notes

Nina K. Balmont Bruno (1900-1989), wife of the artist LA Bruni.
About NK Balmont Bruni-see, in particular, in the memoirs of M. Ardov: <...> man was goodwill, an unusually sociable and completely overlooking the lifestyle <...> When Akhmatova died, Nina K. came to Leningrad to the funeral.
<...> To "a civil funeral, she did not go, and we all waited a long time to Komarovskoe cemetery until brought the coffin ...
It was very cold. At some point, Nina K. called me aside. It opened its roomy handbag, took out flyazhechku with cognac and a glass, we had to drink, to warm up a bit ... After the funeral we went <...> in the booth. There was a requiem. <...> Nina K. benefited from the same church his bag slender candle and lit it.
Then I realized that she - the great man "(M. Ardov, B. Ardov, A. Batalov. Legendary Ordynka. Pp 198-200).

     1. "Before eh, my dear, it was a soft glaze with us." - Quoted strings fables of IA Krylov "Dragonfly and the Ant." up
     2. ... with Zinaida, with ... boys ... - I mean Zinaida Pasternak (nee Eremeev, first marriage Neuhaus, 1897-1966), second wife of Boris Pasternak, Yevgeny B. Pasternak (b. 1923), son of Boris Pasternak and his first wife, Ye . Pasternak, and Stanislav Genrikhovich Neuhaus (1927-1980), pianist, son of 3. H. Pasternak and H. Neuhaus. up
     3. ... Ivan ... - Probably refers to the writer Vsevolod Ivanov (1895-1963). up
     4. ... then she translated "Chinese wall" ... - Refers to the Akhmatova translations of Chinese poets included in the anthology of Chinese poetry (Moscow, 1957). up
     5. So Akhmatova broke out: "Why do you need?" - Describes Balmont Bruno met Pasternak and Akhmatova dated November-December 1957 By this time, Akhmatova had time to read the handwritten lists of pacing in the novel, Pasternak's "Doctor Zhivago" and give him the following assessment: "There are pages completely unprofessional. I think they wrote Olga ( Ivinskaya. - OF). Do not laugh. I'm serious. I've never been <...> editorial proclivities, but then I would grab a pencil and cross out page after page crosswise. And in this novel is landscapes ... I frankly say, equal to the Russian literature there. None of Turgenev or Tolstoy, none. They are brilliant, like "grow hazel" (L. Chukovskaya. Notes on Anna Akhmatova. Vol 2. C . 271). Continues bitterly scold novel BL.
     - People are dead, invented. One of nature alive. Doctor Zhivago is wrongly that name. He, too lifeless. And - you noticed? - He was no doctor. Most Holy Russian doctors have always been treated, all, and that no one ever ... And somehow he has children everywhere "(ibid.. S. 273)

[Тютчев]

Сообщение от FAIv

... daughter of the poet Konstantin Balmont ...

Balmont, Konstantin (real name Bálmont; (1867-1942), Russian poet, novelist, critic and translator.
Born 3 (15) in June 1867 in the village Gumnischi Shuia district of Vladimir Province in the family Zemstvo. Formation of the person Balmont passed the stages, traditional landowners for suckers "nests" the last third of the 19. "My best teachers were in poetry - homestead, garden, streams, marshy lakes, the rustle of leaves, butterflies, birds and sunsets" - the writer said about himself in the 1910's. Like hundreds of boys of his generation, Balmont early infected revolutionary rebellious mood. In 1884 he even excluded from school for taking part in the revolutionary group ". Grammar School course in 1886 graduated in Vladimir, and immediately entered the law faculty of Moscow University. After a year of university he was also expelled - for participating in student riots. It is short reference to native Shuya, then restore the university. But the full course Balmont never finished: in 1889 dropout rate for classes in literature. In March 1890 the first time experiencing a severe nervous breakdown and tries to put an end to itself.

In 1885 he made his debut as a poet in the journal "Pictorial Review", in 1887-1889 active translation of the German and French authors, and finally, in 1890 in Yaroslavl, at his own expense published the first book of poems. The book was weak, and frankly, stung neglect readers Balmont destroys almost all of its circulation.

In 1892 he traveled to Scandinavia, where familiar with the literature of "the end of the century" and enthusiastically penetrated her "atmosphere". Assumed for translations of works "fashionable" authors: H. Ibsen, G. Brandes, and others translation of the work on the history of the Scandinavian (1894) and Italian (1895-1897) literature. In 1895 he published two volumes of translations from E.Po. Thus begins the work Balmont as the greatest Russian poet and translator turn of centuries. With its unique abilities polyglot, a half-century of his career he left translations from 30 languages, including Baltic, Slavic, Indian, Sanskrit (ancient Indian poem, the author Asvagoshi Living Buddha, ed. 1913; Upanishads, the Vedic hymns, drama Kalidasa), Georgia (poem Rustaveli Knight in the Panther's Skin). But most of all Balmont working with Spanish and English poetry. Even in 1893, translates and publishes the complete works of English romantic poet P.-B. Shelley. However, translations of his very subjective and are free. Chukovski even called Balmont - translator Shelley "Shelmontom.

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In 1894, there is a collection of poems under the northern sky, with whom Balmont really part of Russian poetry. In this book, as in close to her time in the immensity of collections (1895) and Silence (1898), Balmont, the established poet and exponent of zhiznechuvstvovaniya turning point era, yet gives give "nadsonovskim, vosmidesyatnicheskim tones: his hero is languishing" in the kingdom dead helpless silence ", he is tired of" waiting in vain the spring ", is afraid of the quagmire of everyday that" lure, compress, suck. " But all these familiar experiences are given here with renewed energy injection, voltage. The result is a new quality: a syndrome of decline, decadence (from Fr. Decadence - the decline), one of the first and most prominent exponents of which in Russia and became Balmont. Death, lulled me - this countless repetitions in fashion at the turn of the century line the young poet - a characteristic example of the aesthetically "death game", which featured decadent muse. Transfiguration of romantic decadent inherent lyricism "end of the century", is clearly visible in rethinking poet motif of the ship - one of the most beloved of the Romantics Byron and Lermontov to Rimbaud. Thus, in the poem Balmont 1893 canoe longing heroism of Lermontov's "sail", which "requests the storm" for "ray of golden sun, with a" black canoe, vainly searching for "bright palace of dreams" in a dream world filled with "a bitter sorrow" at night a month . Lermontovsky majeure shall, in verse Balmont elegiac minor, generally characteristic of Russian poetry "senior" symbolism.

Balmont specifies the sample self-awareness and perception of the world decadent-symbolist. The embodiment of life as dreams, illusions, fantasies and look at the world through the prism of "I" of the poet - all provoked extreme subjectivism. Everything around me is subject to capricious mobility lyric "I". I - a little cloud, I - breath of wind, - wrote Balmont and elevates to the cult of variability, fluctuation of moods and feelings, their transience: I do not know wisdom, suitable for others. /Only transience puts me in a verse /Only in fleeting, I see the worlds /Complete changeable, rainbow play.

Best such ephemeral, vibrating sensation passed Impressionist painting technique, as it destroys the visual image. Impressions are valuable in their initial confusion, they are united no logical connection, and associative similarity. And in the verses they lie like beads on a thread identical terms: it is unclear rainbow. Distant star. /Valley and cloud. And the sadness of the inevitable.

Along with A. Fet, Balmont most vivid impressionist Russian poetry. Even the titles of his poems and cycles carry the deliberate vagueness of watercolor paints: moonlight, We were in a golden mist, in the soft haze of gold, air-and-white. World Balmont's poems, as in the canvases of artists of this style, blurred, raspredmechen. It is not dominated by people, not things, and not even feelings, and incorporeal quality, formed from adjectives with an abstract noun suffix "beard": transience, vastness, vseglasnost etc.

Rushing, like other symbolists, the "synthesis of arts", Balmont fills Russian verse unprecedented musical instrumentation, energetic flow of alliteration and assonance, ie harmonies of consonants and vowels: A swan floated in the gloom, /Into the distance, under the moon Bele. /Snuggle up to the wave paddle, /snuggle up to moisture Lileya ... (Moisture, 1899). Workshops harping sounds L and Y here creates a sonic image of gently splashing water, like some of the effects of impressionistic music, and also calls to mind the flowing curves of art and architecture of Art Nouveau.

Balmont made and the most glaring of the reformer of Russian Symbolist poetic rhythm, especially the "long", "slow" sizes. I - refinement Russian drawl ... /I first discovered in this speech deviations /Perepevnye, angry, gentle ringing ... /I - exquisite verse. - He said about himself. А как экспериментатор в области жанра Бальмонт позднее, в 1917, создал не знающую себе аналогов в мировой поэзии книгу Сонеты солнца, меда и луны. Song of the Worlds, which contains 255 (!) Samples of the most difficult poetic form.

Sonorous and often too insatiable in his "beautiful" experiments Balmont certainly have been evaluated and accepted by a large Russian poetry. At the same time by the end of 1900's, they have created the unthinkable number epigones, nicknamed "balmontistami" and bringing to the limit of vulgarity lavish ornamentation of his teacher.

Zenith creativity Balmont up in the collections of the early 1900's BEST of the building (1900), Let the sun (1903), Only Love (1903), the Liturgy of Beauty (1905). It dramatically changes the intonation: replace onetime melancholy and pathos menorah comes acceptance of life in all its manifestations, its ecstasy, rapture and rage gust upwards, strong-willed aggressive pressure. Also manifest general mystical enthusiasm of Russian poetry of pre-revolutionary era. In the center of the poetic universe Bal'monta these years - the images of elements: light, fire, sun. It is shocking the audience of his demonic pose, "burning building" (an image that goes back to the "world conflagration" F. Nietzsche). By singing "hymns" vice, bro through the centuries from the Roman Emperor Nero, the villain. Most of his friends (I. Ann, Bryusov, Gorky, and others) considered Masquerade "superhuman" the claims of these collections, alien "feminine nature" "the poet's tenderness and gentleness." Only Vyach. Ivanov defended bravado Balmont desire sharp metaphors highlight the strength of opposition to any rules and regulations, the desire "to approve the existence of extremes of light and darkness."

Many contemporaries in assertiveness balmontovskogo vote saw revolutionary meaning. Balmont, indeed, paid tribute to social protest. But his "revolutionary" - not the result of a conscious and strong public position, but rather anarchic riot "indignant at the sight of injustice," the poet - a rebellion that could bring notoriety. That was in 1901, when a small poem Sultan, the response to the dissolution of a student demonstration, Balmont banned for two years to live in the capitals. So it was with collections of the revolutionary period 1905-1907 Poems (1906, confiscated by the police) and Songs of the Avenger (1907, released in Paris, Russia banned the spread). At the same time Balmont is moving closer to Gorky, working in the Bolshevik newspaper "New Life" and published by A. Amfiteatrov socialist magazine Red Flag.

In 1907-1913 Balmont lives in France, seeing himself as a political emigre. A lot of traveling around the world: circumnavigate the globe, visiting America, Egypt, Australia, the islands of Oceania, Japan. During these years, critics wrote more about his "sunset": the factor of novelty balmontovskogo style ceased to act, got used to him. Technique poet remained the same and, in the opinion of many, transformed into a stamp. However Balmont these years, discovers a new thematic horizons, appeals to myth and folklore. First Slavic antiquity sounded more in the collection of hex (1906). Subsequent books Firebird. Pipe Slav (1907) and Green Vertograd. Word of Kissing (1909) include the processing of folk stories and texts, paraphrasing the "epic" Russ on "modern" way. The greatest attention is paid for any kind of Arcane spells and Khlyst zeal, which, in his view, reflects the "people's minds." These attempts were unanimously appreciated by critics as derisory and false styling, reminiscent of a toy "neo-Russian style" in painting and architecture of the era. Bryusov emphasized that the legendary heroes Balmont "absurd and pathetic" to "coat decadent.

Indefatigable thirst for poetic "infinity" makes Balmont refer to "pervotvorchestvu" other non-Slavic, peoples and in the collection of 1908 Calls of antiquity to give artistic transcriptions of ritual magic and poetry of priestly America, Africa and Oceania.

February Revolution of 1917 Balmont met with enthusiasm, but the October Revolution makes him a terror to "chaos" and "hurricane of madness" "Time of Troubles" and to revise its former "revolutionary". In 1918 a book publicist I revolutionist or not? represents the beginning of the Bolshevik carriers devastating, overwhelming personality. Having received permission to temporarily go abroad on a business trip, along with his wife and daughter in June 1920 left Russia forever, and through Revel gets to Paris.

France feels the pain of isolation from other Russian emigres, and this feeling contributes samoizgnannichestvom: seeking refuge away from Paris and settled in the small town of Capbreton on the coast of the province of Brittany.


The only consolation Balmont-exile for two decades has remained an opportunity to remember, to dream and to "sing" about Russia. The name of one of my books on the Motherland - She (1924) - the last creative motto of the poet. Emigre poetry Balmont on Russia for the Russian emigre poetry is as important as for the prose novels Summer of the Lord Shmeleva or Life of Arseniev Bunin.

Until the mid 1930's creative energy Balmont unabated. Of the 50 volumes of his works went into exile 22 (last collection Svetosluzhenie - in 1937). But neither the new reader, or freedom from want no avail. Among the new motifs in the poetry Balmont these years - religious enlightenment experiences. Since the mid 1930's all clearly displayed signs of mental illness that had blighted the last years of the poet's life.

Balmont died Dec. 24, 1942 in Noisy-le-Grand in France, listening to the reading of his poems, in old people's home near Paris, hosted by Mother Mary (E.Yu.Kuzminoy-Karavaeva).



I - refinement Russian drawl ...

  Balmont KD

I - Russian delicacy slow speech,
Before me other poets - Baptist,
I first discovered in this speech deviations
Perepevnye, angry, gentle chimes.

I - a sudden break,
I - playing thunder
I - clear stream,
I - for everyone and nobody.

Pereplesk mnogopenny, torn-blended,
Semi-precious stones original land,
Roll call of forest green in May --
All understand, everything will take, others taking.

Eternally youthful, like a dream,
Strong that love
And in themselves and in others,
I - exquisite verse.

[Тютчев]

God created the world out of nothing ...

God created the world out of nothing.
Learn artist, he has --
And if your talent grain,
Wrought her wonders,
Grow up immense forests
And he, as a fantastic bird,
Umchis high in the heavens
Where light is free as lightning,
Where the eternal cloud surf
Runs on the blue abyss.


Broken line

Broken lines, sharp angles.
Yes, we're here - we hide in the smoky realm of darkness.

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We still show a sullen burrows,
We even dressed up in festive attire.

Глянем and blow you away, stuffing in our dreams.
We'll show you the freshness of novelty.


Wait, the old, always knew
Only two swings, but no and yes.

There will be a revelation, the kingdom of darkness erupts.
Morning breathes purple ... Hark! Shouting eagles!

Velazquez, Velazquez, the only genius ...

Velazquez, Velazquez, the only genius
Who managed to mysteriously make a simple,
As power over a host of your dreams
Mad sun, always young!
      With what the humiliation and pain, and fear,
      Thee - immortal, look jesters,
      How strange whiten bent spinner
      Working in the greatness of its beauty!

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And the Crucified, over all the Christs
Taken up body exquisitely pale,
And the long spear that stood in rows
Above abusive hero, humbly triumphant!
      These Infanta with Philip the Fourth,
      So sensually brilliant poet-king, --
      Во всем этом блеске, для нас распростертом,
      We have gold dust, like bees, we take!

We draw strength for our creations
In the living spring, not issyakshem hitherto;
And in the strength born of thee outlines
Welcome lush oasis in the desert.
      We did not know by what authority the same
      You were - and an oasis and along mirage --
      Fate it, dream it, mind or passion,
      You forever - the past, and our coming!

MERMAID

If you can, try to understand. If you want, take it.
You're one I liked among the people.
Before you I was cold and pale.
I - with a deep, quiet, dark bottom.

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No, I hesitated. Now turn on for us
Young Moon. Here - you see? Lit!
Breathing dark blue. Well, kiss it! You my friend?
Here. And here. So. And here ... Oh, how sweet
                                                                 with you!

 
our king

Our King - Mukden, our king - Tsushima,
Our King - bloodstain,
The stench of gunpowder and smoke,
In which the mind - dark.

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Our king - misery blind,
Prison and the whip, the jurisdiction, shooting,
King - gallows, the lower half,
As promised, but did not dare to give.

He is a coward, he feels with hesitating,
But will the day of reckoning awaits.
Who began to reign - Khodynka
That will end - standing on the scaffold.

Beauty

One is a beauty in the world --
Love, sorrow, renunciation
And the voluntary tortures
For us the crucified Christ.


MINUTE

Well the woman in the May sunset
Silky strands of hair in the breeze,
And burning desire in color, aroma,
And a distant song canoeist on the River.

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Well this wild freestyle will;
Stretched hand, and touched the hand,
And bound the two - at the moment, no more than --
The moment of love that will last century

RIVVEYRA

You were not familiar with the aroma
Flowers bloom all around.
A cruel and gloomy anatomist,
You longed dismembered bases.

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Realizing the credibility of flour
She nursed you in the blood,
Loving distorted hand
How love kiss of love.

You expressed the horror of slavery --
Threw in the starless limit
Nightmares performed pain
Thou hast broken bodies.

Telling us that the horrors of torture
In creating dreams are good
You clearly revealed to us the excess
And rabies powerful soul.

And darkness, as charoy, owning,
You're accustomed to the darkness of beauty
You - his brother Prometheus
Which is always in the dark

Goldfish

The castle was a gay ball
Musicians sang.
The breeze in the garden, shook
Light swing.

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In the castle, in sweet delirium,
She sang, she sang the violin.
And in the garden was in the pond
Goldfish.

And swirled in the moonlight,
Similarly, cut-out,
Intoxicated by the spring,
Moths are nocturnal.

Pond shaking in my star,
Bent grass flexibly
I flashed it in the pond
Goldfish.

Although not seen it
Musicians ball
But from the fish, from her
Music sounded.

Just come silence
Goldfish
Glide across, and once again visible
Between guests smile.

Again, the violin will sound
The song is heard.
And in the hearts of love murmurs,
And spring laughs.

The eyes gaze to the whispers: "I'm waiting!"
So light and vague,
Because it was there in the pond --
Goldfish.

[Кирилл Сызранский]

Сообщение от Tjutchev

BRUNI Lev 20 July 1894 (Malaya Vishera Novgorod Province) - February 26, 1948 (Moscow) Graphic artist, painter, muralist.

At the November Sovkome be his picture. Inexpensive.

[Ухтомский]

Сообщение от Tjutchev

Sam Lev Bruni's childhood was sure: "All people - artists".

Lev Bruni: all people - artists
21.07.2009 14:49
Illustrator and monumental, a teacher and a war correspondent, he found the Silver Age, was a member of various art associations and sought their own way in art. Today marks 115 years since the birth of Lev Bruni.

A little video of the TV channel "Culture":http://www.newstube.ru/media/lev-bru...udi-xudozhniki

[Тютчев]

Pink frog froze between the thin blades of grass. It may be a long talk about the profundity of that in the visual arts equivalent gesture in favor of sound, movement, and space is always - a repository of mysterious silence, and that this work of Lev Alexandrovich it leaves the space, turning space in the world, has a decisive importance ... But probably better just to stay in the middle of the hustle of life addictive to watch and see. And with the sharpness, usually accessible only to children but to artists, to experience wonder and admiration of every drop of this world.

splashed fish over the water ...

  FK Sologub

Splashed fish over the water,
And the stars swung.
The sand is cold and damp,
And in the warm river water.

But I'll wait to swim,
Slightly dizzy, --
First, I will go coast.
What wet grass!

And not flinch as if suddenly
Frog will jump party
Or by chance at a fat bitch
Stepping like the top of his foot!

I am not afraid, but do not understand,
Why the cold grass,
And the dark forest, and why
So dizzy.




Frog. 1927. Watercolor, paper, 30.7h47.8 see. State Tretyakov Gallery, Moscow.:

[Тютчев]

«Everything is given to him easily, everyone else loves him, calling none other than Lyovushka. One of those who knew him recalled: "He was younger than all of us, seemed to the boy, but was able to collect and people to push their foreheads ..." In his workshop in the house on the University Embankment regularly occurred "evening", which became a fact of history of Russian culture. They are now referred to as the literary and artistic circle "Flat No.5". Its permanent members were artists Altman, Miturich, Tyrsa, poets, M., Klyuev, Balmont, Lurie, a composer, critic Punin. Appeared in the apartment No.5 Mayakovsky, Chagall, Khlebnikov, Rozanova, Zaitsev, Tatlin ... Under the influence of Tatlin Lev Bruni began creating constructivist "kontrrelefy" - abstract rebounds from different materials. Together with Tatlin and Rodchenko took part in a futuristic exhibition "Shop" where shown "broken barrel of a cement and glass, pierced by a bullet." But it is hardly possible to argue that Bruni seriously immersed in a battle that led supporters of gay avant-garde. For him there was no struggle, but was friendly solidarity and, most importantly, search for - "living" art that make life so rich and intense. Later in his unfinished memoirs, NN Punin admitted that, if they were all "was given another piece of history, perhaps, these meetings have survived ... would be remembered as the time period most life complete ..." However, times have not choose. " It was in 1916, and the time that they all fell, with the arrogant certainty intruded in such a happy and full life. In November, the artist called in the army. »

                                                                                                         

Tanya YUDKEVICH

[Тютчев]

Сообщение от Tjutchev

However, Tatlin and Rodchenko took part in a futuristic exhibition "Shop" where shown "broken barrel of a cement and glass, pierced by a bullet."

"Store" - Exhibition Association of Moscow and petrogradskihhudozhnikov. The exhibition, entitled "Shop" opened in Moscow in March 1916. (it took place in the premises of the shop on Petrovka - hence its name). Vney involved artists futurists LA Bruni, M. Vasilyev, IV Kliun, AA Morgunov, VE Pestel, LS Popova, Rodchenko, V. E . Tatlin, SI Dymshits-Fat, etc. One of the organizers was Kazimir Malevich, however, due to disagreements with other parties, it is not exhibited his work.
In the spring of 1917 exhibitors and Petrograd artists founded the Society under the title thus managing to improve vision and hearing. It also voshliS. K. Isakov, PV Miturich, VA Milashevskaya, BA Zenkevich, art NN Punin and composer A. Lurie. Members of the public stood on the positions of avant-garde art.

Andrey Lukyanov

[Ухтомский]

Сообщение от Tyutchev

... another great-grandfather, PF Sokolov - renowned master of watercolor portraits.

"Our Heritage" № 67-68 2003

L. Karnaukhova, S. Archangel

Age faithful mirror
Pyotr Fyodorovich Sokolov - watercolors (1791-1848) - master of watercolor portraits of Pushkin's era

The whole culture of the XIX century, especially its first, "Pushkin", half was filled with memories of the cult who have become household reflects the universal then historicist thinking, and watercolor portraits of Peter Fedorovich Sokolov, whose exhibition was held on the Law of the State Pushkin Museum, for relatively short period collected one of the best collections of works by the artist - a fact confirms this. His watercolor portraits for us - unique window into the past, through which, in XXI century has long left the world looking people - secular beautiful and brilliant officers, writers and artists, musicians and public figures, representatives of the Imperial court, the generals, the participants in the war of 1812, the Decembrists , officials, kavalerstvennye ladies, maids of honor, dandies. He portrayed so many that the faces, they are presented, alive, whole pages of this period in the history of Russia. Occupying an intermediate position on the timeline between the miniature and dagerotipom, the first photograph of his amazing technique and lovely to paint watercolor still have important semantic meaning - to revive the memory that makes us believe that the person depicted and the person that were once in fact -- same. They do not argue with reality, and so natural that, looking at them, as they loved to write contemporaries, began to seem that "the model wants to talk."

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The first monographic exhibition at the State Pushkin Museum has collected about 200 works from major collections in Moscow, St. Petersburg, private collections, including foreign ones. Many portraits were exhibited for the first time. The exhibition was accompanied by a catalog "PF Sokolov. Russian intimate portrait "- the first scientific, beautifully illustrated monograph on the work of masters. The artistic heritage of PF Sokolova enormous. Only the list I.B.Chizhovoy1, but it can not be considered complete and final, but it has more than five hundred works. They are located in major museum stores of the country: State Russian Museum possesses the largest collection of works by the artist, the State Tretyakov Gallery, State Historical Museum, the State Pushkin Museum, the All-Russia Pushkin Museum, the State Literary Museum, the Museum of B. VATropinin and Moscow artists of his time, the State Hermitage Museum, State Museum of Fine Arts. Pushkin and others. Many of them took part in the preparation of the exhibition and catalog. Portraits Sokolova, as a matter of special pride for collectors, kept in private collections in Russia and abroad. Participants of the exhibition and catalog of steel and two Parisian collector - Maurice Baryush, who introduced his wonderful collection, numbering twenty-watercolor and pencil portraits of the artist, and V. Tsarenkov. And how many more portraits from private collections in Russia and abroad are still inaccessible to researchers, how many of them stored in a provincial museum and archives as a work of unknown artists, many have disappeared forever in the fires of revolutions and wars!

The name of Peter Fedorovich Sokolov (1791-1848) literally embodies what we call the Pushkin era. Painted by the artist owned by three lifetime portrait of Alexander Pushkin, without his drawings and watercolors is simply impossible to imagine a contemporary first-hand, acquaintances, friends and enemies of the poet - the inhabitants of Moscow and St. Petersburg, where most have lived and worked as an artist.

The professional fate of PF Sokolov began fairly typically for artists of his circle and the time - he graduated from the Academy of Fine Arts in 1809 on a class of historical painting at the wonderful teachers and unsurpassed draftsmen AE Egorov, and V. K. Shebuyev. For software product "Andromache weeping over the body of Hector" Peter Fedorovich received the second (small) gold medal. Dreaming, like all artists, academics, continuing education in Italy, and this gave the right only the first gold medal, Sokolov remained in the Academy for another year. He again participated in the contest, but the second attempt was not successful. And who knows what would have been his creative life, if fortune accompanied him. How much effort, time, talent would be given to "high" genre - historical, and what place in his work would have taken the genre portrait?

So, in 1810, Peter Sokolov was released from the Academy with the rank of "free artist of the first degree." At first he was in poverty, but pretty soon, writes his son, Paul, "began to live on their own resources, and gave lessons in painting and doing pencil portraits, enjoyed great success. Through these portraits, the circle of acquaintances of my father very soon widened, and he fell into the so-called beau monde »2.

His first drawings 1810-ies are preserved in the pages of family albums, remembering all the images of those with whom the young artist was particularly close, those who played a significant role in his fate. By the earliest portraits are from the album Levashov, in a family where Sokolov, "sitting" drawing teacher in 1810-th year, spent about four years. "Through this family, he had the first orders" - wrote the artist's youngest son, Alexander. In some early drawings Sokolov has not departed from the academic style of hatching. Their author may be able to become any academics. They are usually written in dark brown paper with a pencil using the Italian chalk. This so-called drawings "in three pencil": chalk-marked light, the shadows are made by the Italian pencil, and in half-tones on your own color brown paper.

By mid 1810-ies can be attributed, and portraits of family Peschurovyh from the album, which is stored in the All-Russia Pushkin Museum. It is thanks to the patronage of a retired captain of the Life Guards regiment Semenovski AN Peschurova young Peter Sokolov once accepted at government expense to the Academy of Fine Arts, and after graduation he became a frequent visitor to the house where he was "petted and loved" where "admired his talent and where the artist has found his first customers. To this period belongs, and an album with pictures from the State Historical Museum. On the upper lid covered with red morocco, - bronze mounted profile of Emperor Alexander I. Such an instance is mentioned in the memoirs A.O.Smirnovoy-Rosset, who, going to Europe, brought with them dear to her heart, albums and portraits: "Here was an album with a portrait of Alexander, and does portraits of black and red pencil P. Sokolova" 3 .

Landscape drawings mid 1810-ies the unique safety features: a vision of every detail, every movement of the artist's pencil. In this lies their special aesthetic value. Wonderful and clean execution. It is no exaggeration to say that it was the mid 1810-ies PF Sokolov was found an original, vivid and original manner of hatching a person on which he learned in the formative detail. This characteristic manner, the handwriting wizard will continue in his watercolor portraits, particularly 1820.

Landscape In the early drawings of the artist there was a certain seclusion and intimacy, as if a momentary transfer of experience and apparent incompleteness. In the easel portraits of the second half of 1810-ies he was trying to be more generalized image, the depth and strength of color became more likely to use the feathering. These are portraits SG Volkonsky and DN Bludova, MA Kikin, an unknown man with the Order of St.. Anna 3rd degree (private collection, Moscow), clearly made to order.

Portfolio PF Sokolova late 1810's - early 1820 provide an opportunity to trace the transition from dry Italian technology with sanguine pencil to use in some drawings of a mixed technique with the addition of watercolor, and finally - to transparent watercolor without whitewash. At the same time, Sokolov, since the times of great academic who owned a brush, writing and small portraits in miniature dense watercolor technique with whitewash - NV Stroganov, S. Stroganov, AL Vitberg.

In 1821, on the recommendation of adjutant Count SF Apraksin, with whom PF Sokolov was a friend, the artist invited to work in Anichkov Palace. Successfully performing a three-year portrait of Grand Duke Alexander Nikolaevich, the future emperor, he began to receive orders from the imperial household. With a portrait of the Emperor Nicholas I there was an unexpected incident. As soon as the artist "had time to sketch pencil outline," the Emperor interrupted the session and the brush has drawn a line under the nose loop "with the words:" Take it as a souvenir "4. How is valid this anecdote, passed in the memoirs of the artist's son Paul, is hard to say. But, of course, it is strange that Sokolov, who had served so many orders of the court, with all his extraordinary talent and popularity has never won the title of court painter. However, an academician and a portrait watercolor painting he was given only in 1839. Not having sufficient background information, one can only assume that one of the known causes of this slow career was displeasure, once expressed by the emperor.

Nevertheless, the court orders, of course, contributed to the growth of Fame artist. From the wish to have portraits Sokolova formed a "vital part", and many had to wait for the beginning of the session sometimes for a month. Society has chosen for himself "favorite artist". Moreover, customers sought him out repeatedly. For example, only three known portraits EP Bakunin, in marriage Poltoratskoi - the first of them, an early pencil drawing in 1816, where she shows a young girl. Twelve years later was executed watercolors, which in the guise of Bakunin artist conveyed the elegance and lightness, the "similarities with La Sylphide, which, according to the conception of the time, was supposed to have a secular woman, and the portrait in 1834 he painted Ekaterina Pavlovna had married a lady . Soft delicate color watercolors related to its internal state. The artist, as if in anticipation of its continued good fortune, gave amazingly true state of peace of mind. Many well-known families kept the portraits of several generations, by P. Sokolov.

The extraordinary success enjoyed his "wedding" portraits. Funny is illustrated through the words of one customer: "... We are now without you, Peter Fedorovich, can not do both without a priest, if he will not bless your talented hands, then the marriage is invalid" 5.

Working life in order, in the words of Tchaikovsky, "hurry", Sokolov has always been extremely artistic. In the late watercolors he had reached perfect harmony in the figure, color, composition. They are "pictures and not in the least to lose from an increase to the natural size, if raised accordingly and the power of color to the strength of oil paints 6. In the portraits of women 1840 Sokolov seems especially romantic and in love with nature. Portraits of men distinguished by their great inner strength and realism. "The reality would be the most outstanding feature of his talent, long before the domination of this trend in contemporary portrait painting" 7.


For the first time about the artistic method PF Sokolov wrote his youngest son, watercolor painter academician AP Sokolov. He noted that his father never resorted to the remover, ointments, anti-aliasing or any other tricks out of the actual painting. "With remarkable courage truthful tone of a person dresses, lace accessory or background lay down at once, almost in full force and itemized mixed, mostly grayish tones, with remarkable charm and taste, so that the course of the hand, Eia strikes, sinking of paint on there, remained on the mind, without interfering with the complete finality of all parts. From this in the works he has never been any noticeable tortured and labor were all fresh, easy and at the same time, clearly and effectively in the paint "8.

With inimitable skill Sokolov applied in watercolor and pencil, using it not only as an aid to construction of the shape in the preliminary figure. Pencil often "woven" into the very fabric of the scenic watercolors. His touch it thickens, then thins to "spider", is interrupted, then to re-emerge and to emphasize the form. Human Aleksandr Sokolov, speaking of the amazing lightness, freshness and spontaneity, improvisation works seeming father, where everything was "as if in sight, without interfering with the complete finality of all parts".

And yet - "the best that was in Sokolova - this sense of color" 9. This is based emotion of his works. The artist never abused that "Iridescent Kohler", aptly put by Alexander Ivanov, which was characterized by Karl Briullov. Painting Sokolova thinner, harder, more varied, subtle. The very beauty of the color palette of his portraits is an aesthetic category. Sometimes this reduced color palette based on the convergence of the noble colors, only in some places crowded with bright color spots, and in such portraits as SV Stroganov, AN Zubov, Demidov, KV Nesselrode.

Other series of portraits based on a more vivid, and in the 1840's even catchy colors. This blue, red, green, large color spots. But here Sokolov never alters sense of proportion. All harmonious, harmonious, noble.

To be continued ...

1 Chizhov IB Brilliant Petersburg in watercolors PF Sokolova. SPb., 1999.
2 Sokolov PP Memoirs /Red., Introd. Art. and comment. E. Gollerbakh. L., 1930. P.49.
3 Smirnova-Rosset AA Diary. Memoirs. M., 1989. P.289.
4 Sokolov PP Ordinance. cit. 69.
5 Turchin, VS Portraitist Peter Sokolov //Petr Fedorovich Sokolov. 1791-1848. Russian Chamber portrait. M., 2003. C.8.
6 Sokolov AP Pyotr Fyodorovich Sokolov. Founder portrait watercolor painting in Russia //Russian antiquity. 1882, March. P.638.
7 Ibid
8 Ibid.
9 Sidorov AA Picture of the old masters. 1956. S.338.

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[Ухтомский]

Сообщение от Ukhtomsky

"Our Heritage" № 67-68 2003

L. Karnaukhova, S. Archangel

Age faithful mirror
Pyotr Fyodorovich Sokolov - watercolors (1791-1848) - master of watercolor portraits of Pushkin's era

Continued

Many watercolors Sokolov came to us in a single copy, although it is well known that the artist also bought a few repetitions of the same portrait for a gift to friends and relatives. The exhibition and catalog allowed to join together subscription copies and author repetition, are now in various museum collections. These are the three portraits IG Poletika, B. G. Stroganov, great Duchesses Maria, Olga and Alexander, Grand Duke Alexander Nikolaevich sister Mary, Pushkin and others. Some of them are different levels of completeness, the presence or absence of various accessories, color. However, Sokolov never imitated himself, as would a craftsman, copying someone else's work, in each of his "repetition" concluded its own individuality.

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A detailed study of reference signed works PF Sokolova and some watercolors from the State Pushkin Museum, without the signature of the artist, but is traditionally considered to be copyright repetitions allowed to withdraw them from the circle of the artist's works. Research excitement is sometimes too great, and it is difficult to resist the temptation and do not ascribe to another, previously unknown product does not someone, namely PF Sokolov. Must pass some time to look at, it would seem, other reference works of the artist's eyes and from other positions and reasonably dispute his authorship.

Not all the portraits, where the authorship of PF Sokolova was given, it was possible to determine the name of their true author. Professionals and amateurs imitated his watercolors, he imitated, worked in his manner. For example, a portrait SA Bobrinsk repeatedly published as the work of Sokolov, in methods of writing is very different from his famous works. In doubt and a thin fragile paper is yellow, so unlike the slightly rough texture of the drawing paper or smooth, almost velvety Bristol board, which usually enjoyed artist. Reproduction of this portrait in the book of Veselovsky "VA Zhukovsky. Poetry of feelings and imagination of the heart "has confirmed the initial guess. In a footnote, it was stated that the portrait is "a copy made in the of January, 1892 with the original, written, as they say, Sokolov in 1822. In addition, the chemical reaction paper on aniline sulfate showed that she did not rag and wood origin. Watercolor on paper, this could only be written in the second half of the XIX century. Subscription original PF Sokolov was in the album which belonged to Count Grigory Alexandrovich Stroganov, then his daughter Elena Grigorievna, Sheremetev first marriage, and later his granddaughter Sophie Vladimirovna Sheremetev, married Von Den. After the Revolution, he emigrated to Rome, she was able to take away a family relic with him. In 1930 the album was sold in Paris on a separate sheet, some of which were acquired by A. Popov, whose collection inherited gallery owner "Popov and Co., a collector Maurice Boryush. A copy of the same, made in 1892, remained in Russia. Its last owner, Count Alexander Andreyevich Bobrinsky, great grandson of SA and AA Bobrinsky officer guard, was shot in 1919 in the Caucasus. He left no offspring, and the watercolor was in the wrong hands, having lost its main value of family heirlooms.

In the same group found a subscription portraits of Count AA Bobrinsky, the grandson of Empress Catherine II, Count NA Samoilova, a friend of Pushkin, NA Mukhanova (now in the collection "Popov and Co."), IG Poletika, незаконнорожденной дочери графа Г.А.Строганова, его сына барона Г.А.Строганова (местонахождение неизвестно).

Removing questionable works range from works PF Sokolov is a definite step forward in the process of studying his work. It is becoming increasingly evident that only a comprehensive study nepodpisnyh, but attributed to the painter of portraits, including their study of art history and technological analysis will provide a scientific basis for attribution. In this connection necessary is to create a database containing results of analysis of the pulp cartons and pigments in the reference works PF Sokolova. The first studies in this direction taken by the candidate of chemical sciences VN Yarosh.

While working on the catalog and exhibition have been clarified as the old and proposed some new iconographic definitions. The invaluable role played here materials of history and art exhibitions of Russian portraits, organized by SP Diaghilev in 1905 and held in the Tauride Palace in St. Petersburg. She exhibited work 71 PF Sokolova. Photobank Tauria exhibitions are currently in the photo library of the State Tretyakov Gallery. Their study allowed, for example, to restore the once lost the names of two girls in fancy dresses depicted in watercolor, housed in the Museum VATropinin and long considered a portrait of Grand Duchesses Olga and Alexandra, daughter of Emperor Nicholas I.

It was found that Tauria watercolor exhibition was displayed and included in the catalog (№ 1931) as the image of sisters Anne and Catherine Vasilchikova. The portrait was a younger sister AA Vasilchikova, in marriage Baranova, and later in the family of her daughter Catherine Pavlovna. It was her husband, Earl K.A.Hreptovich-butene indicated in the exhibition catalog as the owner of the portrait. Its origin, iconographic similarities depicted portraits of their parents Alexei Vasilyevich Vasilchikova and Alexandra Ivanovna, born Arkharovs give no reason to doubt that they are depicted watercolors. In addition, Tauride exhibition, as is known, often visited by members of the royal family, including a connoisseur of Russian portrait of Grand Duke Nikolai Mikhailovich, who certainly would notice a mistake in the attribution of watercolors, if it had been.

Iconographic definition of an unknown portrait of a young woman with a green scarf was invited TG Dmitrieva. Figure exhibited as a portrait of an unknown even to Tauria exhibition in 1905 and entered into its catalog (№ 1878). Its owner at that time was Count Fyodor A. Kurakin (1842-1914). Studying genealogy princes Kurakins gave grounds to assume that the portrait depicts the owner's grandmother Elizaveta Kurakina (1790-1871). This is confirmed by iconographic similarities with its picturesque portrait of AG Warneke, located in Orel Museum of Fine Arts, as well as a miniature portrait of her father, Prince Boris Galitzine work E.-A.-ZH. A. Gerard (SRM) and water-color portrait of the princess's mother, Anna, born Princess of Georgia, the work of VI Hau.

Definition of a portrait of an unknown with an IOU from the collection of the Moscow Ostankino Estate Museum, the proposed VA Rakin, is an example of art-the accuracy and credibility. In watercolor depicts Baron Alexander von Stieglitz, the court banker, manager of the State Bank. The investigator confirmed that not only the portrait similarity with the other images, but also two important details. First, it is an IOU Rothschild Baron Stieglitz one million pounds sterling, which is shown holding in his hand. Second, the plaque on the wall with the date "24 June", which indicates a very important event in the life of Baron. In 1844, Stieglitz adopted by a childless couple extramarital daughter of Grand Duke Mikhail Pavlovich, which according to legend, was found in the lilac bushes at their dacha in Petrovsky. Happened in late June, so the name of the child gave Iyuneva (Iyunina, Yunina, Yuneva).

Work on the exhibition and catalog revealed another aspect of the study of the creative heritage of PF Sokolova. TG Dmitrieva was compiled an annotated list of portraits, whose whereabouts are currently unknown, but reproduced at one time specialized in pre-revolutionary editions: "Russian Portrait of the XVIII and XIX centuries, Taurian exhibition catalog, 1905, a detailed dictionary of Russian engraved portrait published DA Rovinsky, Dictionary of Russian lithographed portraits VY Adaryukova and NA Obolyaninova. In addition, in preparing the list were used historical studies, memoirs, magazines "Old Years", "Capital and Country".

For the first time were classified and signature PF Sokolova, the manner of application which has changed over four decades. In his early drawings 1810-ies developed a rather large sign in Russian, with a characteristic title "C" and the sweeping stroke of the end, and always with the initials of the name. This signature is often woven into the hatching of the background, making up part of the composition. Less common signature-monogram "FS", manufactured by the same Italian pencil and very restrained in writing letters. Sometimes the artist dated portrait, rarely pointing to the place of its creation.

In 1820-ies in connection with the growing popularity Sokolov signed watercolor only the name, usually graphite, less Italian pencil, pen and ink. Moreover, Latinized signature often varies: «Socoloff», «Sokoloff», Socolof, Socolow, Sokolow. Signed usually small, well-read, without flourishes. Her style is characteristic for the first half of 1830. In the second half of 1830, preserving all the features of writing letters, Sokolov did in the late signature sweeping stroke with a horizontal loop at the bottom. In the early 1840's this version of her remains, but closer to the mid 1840's increased size of the letters seem to correlate with large size portraits of themselves. Increasingly, there is next to the signature date. The artist continued to use pencil, but closer to 1847, a new version of the signature - a red dye with the laying of the shadows.

All major museums and private collections of works of PF Sokolov unique. For each portrait are not only certain stages of the life of the artist and his model, but the fate of the owners of the portrait, and yet - never repeating the history of its existence in the family, the collections until the proceeds to the museum. State Pushkin Museum for the first time at this exhibition fully showed his collection of works by the artist. Start building the collection started before the official opening of the museum in 1959 - early 1960's. For forty years, thanks to tireless energy, knowledge and collecting gamble of his staff, as EV Pavlova, N. S. Nechaev, AZ Crane has developed a truly unique collection of PF Sokolova - more than forty portraits. By this time were mainly formed by the collection of the State Russian Museum, State Tretyakov Gallery, State Historical Museum, the All-Russia Pushkin Museum - the main repositories of works of major masters.

At a meeting in Moscow's Pushkin Museum of all four periods of creativity PF Sokolova. Early pencil drawings of the Italian 1810's, watercolor 1820 and 1830 - the period of blossoming of skill of the artist and the works of the late 1840's, which opened up new features and facets of his talent. The collection's core, its core are watercolors 1820-1830-ies. This is explained not only by the fact that two of these decades - years of enormous creativity of the artist, but the principle of acquisition of the literary collection of the Pushkin Museum, its limited time-frame for the life and work of the poet. But Perhaps therein lies its singular originality and uniqueness. In her portraits a little catchy, bright in color and appearance of spectacular. Watercolor Pushkin Museum collection distinguished primarily by subtle psychology and depth of the artist in nature, the virtuosity and variety of creative methods, not always conspicuous, requiring no surface perception, and research and analysis. These portraits are truly masterpieces of Decembrist wives MN Volkonskaya and PE Annenkov, EP Poltoratskoi, nee Bakunin, Petersburg Beauty SA Urusova, archaeologist and bibliophile AD Chertkov, physician-physician F . I. Bartolomei, diplomat and historian, Baron A. Barclay de Tolly.


Not all the portraits of the Pushkin Museum in the artist's signature is Prechistenka PF Sokolova. Most of them were identified permanent and disinterested advisor to an art museum T. Buevskoy, one of the few experts on the creation of this unrivaled master.

Many of the portraits, and this is particularly valuable, the museum has received from family gatherings, where they are carefully kept hallowed by tradition and legends, not one hundred years. So descendant M.I.Golenischeva-Kutuzov Prince L.Klari-and-Aldringen living in Italy, was presented with a portrait of the daughter of the great commander and close friend of Pushkin Elizaveta Khitrovo. Watercolor depicting Maria Nikolaevna Volkonskaya with his son, a museum, through the indefatigable I. Zilberstein, received a gift from her offspring VN Zvegintsova, who lived in Paris. Ilya Samoilovich also brought to Russia from France, a charming portrait IG Poletika, charming worst enemy of Pushkin.

Leafing through the yellowed pages of old protocols of procurement commissions, you know, as it was not simply buy many portraits of this remarkable masters, who for the literary museum were "no profile". However, contrary to plants over the museum in its time "defended" sketch a female portrait, executed pencil - a rare preparatory drawing PF Sokolova. But five years later managed to get itself watercolor - a portrait of a young woman in a pink coat, one of the gems of our collection. His unconditional iconographic identification made EV Pavlova, was an extraordinary artistic success of the researcher. The portrait depicts YP Sokolov, artist's wife, sister of Charles and Alexander Bryullov. And such examples of good iconography attribution can be given.

As already mentioned, Petr Fedorovich Sokolov was a true witness of Pushkin's era, the artist not only as a mirror to reflect, but glorifying its spirit and its unique aesthetic. Without his work it would be hard to imagine in all its fullness and splendor gallery contemporary poet and his inner circle. In connection with this special value to the collection of its iconographic significance. Besides those already mentioned, the portraits of the poet DV Venevitinov, OS Odoevsky, wife of writer, friend of Pushkin SS Hlyustina, the same infamous IG Poletika, statesman Count DN Bludova, the great Prince Alexander Nikolaevich sister Maria, PA Nashchokin, chief of police LV Dubbelt, AD Chertkov, known in Moscow, his charity and mercy, SG Chernysheva, sister Decembrist Zakhar Chernyshev ...

Well-known art critic N. Wrangel wrote in the "Miniature in Russia, that in his work" Peter Sokolov broke with the Old Testament and raised beauty. Hundreds of enforcement of a watercolor portraits painted with a free and easy. Neat skill of their execution, even people like Nicholas age 10. Pyotr Fyodorovich Sokolov we now rightly called reformers Russian watercolor portrait of the first half of the XIX century. He really reached in the work of its highest craftsmanship, creating a new, full of humanity and always striking individuality of the Russian type of watercolor portrait. During his lifetime his works the artist hardly known abroad, but his chosen path as fully revealed the stylistic evolution from Romanticism to the Biedermeier that his art can be called even more "European" than O. Kiprensky and K. Bryullov already in While familiar to Parisian viewers. "Fame and success - he wrote the memoirs of the artist's son, PP Sokolov, - he was indebted to his talent and work in good faith, without quackery and advertising 11.

10 Op. by: Petr Fedorovich Sokolov. 1791-1848. Russian Chamber portrait. M., 2003. C.12.

11 Ibid. C.6.

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