There are destinies that are talked about - contradictory. These superficial contradictions are striking, but then smooth out and disappear. There are no contradictions - there is life for everyone individual person, its own unique life.
Karl-Kirill
This year is a round date for the Russian artist Karl (Kirill) Lemokh. He was - as they say now - an ethnic German, became famous as a Russian genre painter. Cyril (Karl) Lemokh is known as one of the organizers of the Association of the Wanderers and as a teacher of painting to Nicholas II, he is known both as a rebel and as an academician. And there is nothing contradictory in this.
Kirill Vikentievich Lemokh was born on June 7 (19), 1841 in Moscow, in the family of a music teacher, a Russified German. At birth, he was named Karl. Lemokh's childhood also passed in Moscow, where he studied at the Moscow School of Painting, Sculpture and Architecture. Love to hometown preserved for life, which has already passed in St. Petersburg. In St. Petersburg, Lemokh studied at the Imperial Academy of Arts, where he became a rebel, and then a teacher of the royal children.
Down with academics! Long live academics!
Whoever was not a revolutionary in his youth has no heart. Whoever did not become a conservative in old age has no brains. This idea, attributed to Winston Churchill, may have been voiced before by someone else, since there is a lot of justice in it. The fate of Cyril Lemokh is another confirmation of this. Having rebelled against academicism in his youth, he nevertheless became an academician in his maturity. And there is no contradiction in this either.
Karl Lemokh studied at the Imperial Academy of Arts, and studied very successfully. He was even awarded the Gold Medal (small) for the painting "Moses exudes water from the rock." But the 19th century is the era of formation national schools throughout Europe, not only Russian school. And its own school took place in all areas: in music - “ mighty bunch”, in painting - the Wanderers.
"New Acquaintance", K. Lemokh
A revolt against "academicism" in painting took place in 1863. The 14 best graduates of the Academy defiantly refused to participate in the competition for the big gold medal and then left the walls of the native educational institution. There were several reasons for such an act, but the essence was the same: a new phenomenon in art was brewing.
"Young gamblers", K. Lemokh
main reason- the requirement to follow certain plots and themes. For the competition, the theme of the painting was proposed: "Feast in Valhalla" based on the Scandinavian sagas. But artists no longer wanted to write on mythological subjects, whether antique or otherwise. They did not want to write touching genre pictures from the series "shepherd and shepherdess in the meadow." The artists wanted to paint life itself, which is "cooler than the coolest mythology", the one that they saw around them - and without embellishment.
These 14 students, among whom was Karl Lemoch, of course, took risks. big scandal, the unknown in the future. Instead of Italy, where the best students were usually sent at the expense of the treasury, there was covert police surveillance in Russia. Nevertheless, these 14 people committed an act that is now called the "rebellion of fourteen."
The case was not limited to "rebellion", under the leadership of Kramskoy the "St. Petersburg Artel of Artists" was organized, later - the Association of Travelers art exhibitions. From here grew the whole Russian realistic painting, hence the Vasnetsovs (Victor, mostly), Repin, Savrasov, Shishkin, Serov, Levitan, Makovsky and others.
In fairness, it must be said that the "rebellion" turned out to be a completely unexpected side: 8 out of 14 people became academicians of painting, and Karl Lemokh was invited to the palace to teach the emperor's children.
Karl Lemokh became Cyril Lemokh, as was the custom at court. He gave lessons to the royal children - including Nicholas II, last emperor Russian Empire. Unfortunately, Kirill Lemokh spoke little about his royal students, and he did not leave any memories. It is unlikely that anyone now knows how and what Nicholas II painted, but another student of Lemokha even earned a living by painting. She is known as Grand Duchess Olga Alexandrovna, and as an artist.
Portrait of Olga Alexandrovna, 1893, V. Serov
Olga Alexandrovna (1882-1960) - one of the surviving Romanovs, youngest daughter Alexander III. For all my long life in Denmark and Canada, she painted over 2,000 paintings, which allowed her family to live. Younger sister Nicholas II turned out to be the most talented student of Cyril Lemokh, he could be proud of her. By the way, according to the memoirs of contemporaries, Lemokh was the only one to whom Alexander III addressed in the palace on “You”. 
"Children", K. Lemokh
He could paint ceremonial portraits of reigning persons - and he would write them well and conscientiously, as he did everything in his life. But Lemokh wrote Russian peasant life. Thanks, among other things, to the painting of realist artists, we can now see not only the brilliance Imperial Russia but also deprivation of a significant part of the population. To see almost with one's own eyes, since these paintings did not need to be "composed", they could be "ready" transferred to the canvas, all that was needed was talent and work, desire and empathy.
"Grandmother and granddaughter", K. Lemokh
Kirill Lemokh often drew children, in English newspapers he was even called "the best spokesman for children's world". He also wrote with love and empathy. The artist also had his own great personal tragedy. The only grandson died in infancy. So the line was interrupted not only by Lemokha. The daughter of Kirill Lemokh was married to one of the sons of the great chemist Dmitri Mendeleev. The artist and the chemist were connected by a long-term friendship, but they also had to endure a joint grief. In memory of his grandson in the village of Khovrino near Moscow, Lemokh built a school at the temple.
Kirill Lemokh died on February 24, 1910 in St. Petersburg. His paintings hang in the Tretyakov Gallery, and in the Russian Museum, in museums in other cities. A modest, honest, decent man - this is how he remained in the memory of his contemporaries. An artist-life painter of the second half of the 19th century - this is how he remained in the history of national culture.
Galya Konstantinova
Kirill Lemokh is known as one of the organizers of the Association of the Wanderers and as a teacher of painting to Nicholas II, he is known both as a rebel and as an academician, as a wonderful genre painter.
Kirill Lemokh
Kirill (Karl) Vikentievich Lemokh was born on June 7, 1841 in Moscow into the family of a music teacher. In 1851-1856 he studied at the Moscow School of Painting, Sculpture and Architecture, from which he entered Imperial Academy Arts. Since then, by the nature of his occupation, he lived in St. Petersburg, but he always loved Moscow very much and invariably spent the summer at dachas near Moscow.
Among the other fourteen academicians , defiantly refusing to participate in the competition for the Big Gold Medal, in 1863 filed a petition to leave the Academy, having received a diploma cool artist second degree. After leaving the Academy, he enters St. Petersburg artel of artists, founded by I. N. Kramskoy.
In 1868, for the painting “Family Grief” exhibited at the academic exhibition, he received the title of class artist of the first degree. Lemokh became one of the founding members of the Association of Traveling Art Exhibitions, formed in 1870, a member of its Board and a cashier; with his accuracy and honesty in this role, he was indispensable.
"New Acquaintance", (1885)
"Parental Joy", (previously 1910)
Unfortunately, Kirill Lemokh spoke little about his royal students, and he did not leave any memories. It is unlikely that anyone now knows how and what Nicholas II painted, but another student of Lemokha even earned a living by painting. She is known both as Grand Duchess Olga Alexandrovna and as an artist.
From the memoirs of Y.D. Michenkov:
"When a teacher was needed at the court, then by virtue of his German descent, his accuracy and delicacy and direction in art, he, like no other artist, came closer to this role.
At court, he was renamed from Charles to Cyril and assigned to teach the children of Tsar Alexander III. Lemokh found more Alexander II , who came to the lessons of the grandson of Nicholas, the future Tsar Nicholas II and honored the teacher with his conversations. Alexander II , addressing "you" even with higher ranks, for some reason said to Lemokh “You”.
"Morning in the Swiss", (1874)
In 1875, for seven paintings exhibited at the academic exhibition, Lemokh was awarded the title of academician of the Imperial Academy of Arts, since 1893 a full member of the Academy, elected a member of the Academy Council in 1895 for a period of five years.
For studying royal family Lemokh was given a life pension. From 1897 and almost until his death (until 1909), Lemokh held the position of curator of the art department of the Russian Museum of Emperor Alexander III
Where did you chat?
Varka.
Thanks, among other things, to the painting of realist artists, we can now see not only the brilliance of imperial Russia, but also the deprivation of a significant part of the population. To see almost with one's own eyes, since these paintings did not need to be "composed", they could be "ready" transferred to the canvas, all that was needed was talent and work, desire and empathy.
Grandmother and granddaughter,
MEMORIES OF ARTIST FRIENDS
So, N. Bykovsky writes: “In 1873 he often came to visit me in the dacha area of Vladykino near Moscow from Khovrin, where he had recently purchased a small dacha.
He was interested in Vladykin's backyards, dilapidated sheds and dilapidated huts, and he painted many sketches with figures and began paintings, which, upon returning to St. Petersburg, he exhibited at the Academy and was awarded the title of Academician of Painting for them.
drunk husband
In Khovrin, in the garden of his dacha, he built himself a spacious workshop and inside it arranged part of a real hut with all its furnishings, so that, sitting in his workshop, he could paint figures from life in an appropriate peasant setting and in such lighting that happens in a hut».
"Young gamblers"
"Convalescent" 1889
Yakov Minchenkov: "Here came the sitters from the village when he painted pictures from peasant life. He knew all the peasants in the village and helped almost all of them with money or gifts. He dug a well for the village so that they would not drink from a dirty stream, built huts for fire victims, and gave money for various family needs.
"Girl with flowers"
Lemokh writes a sketch from a girl and asks his model what they eat and drink milk in her house. The girl replies that they don't drink milk because there is no cow. Kirill Vikentievich goes to the Sunday fair in the nearest village, chooses a cow, pays for it, orders to take the cow to the village and hand it over to the mother of the girl with whom he was talking.
It turned out a touching picture: the seller hands the cow to the peasant woman, but she does not take it, because she did not buy it, and her husband has no money. The misunderstanding was finally cleared up, the peasant woman finds out that the good Lemokh sent the cow, and, happy, with tears in her eyes, takes the cow to the barn.
"Peasant Children"
Suburban peasants, spoiled by the city, the nobility, oppression and handouts, poverty and casual easy earnings, constantly deceived their benefactor
Life at Lemokh's dacha was touching, patriarchal.
You used to arrive at the Khovrino station, walk a mile or so through a park and a field, and see a dacha sunk in greenery. Golden rye all around, birches in the distance. It is evening, Kirill Vikentievich wanders along the border in a dark cape and a straw hat with his wife or daughter ... "
"New Family Member"
Yakov Minchenkov also notes the delicacy of Lemokh - “not a single harsh word, not a single thought hostile to anyone- and his rare ability not to judge.
« Everyone knew that it was impossible to talk with Lemokh about politics, about public disorder, since he demanded only personal improvement and "non-judgment of his brother." Lemokh was not angry with anyone and did not blame anyone».
beggar woman
Life seemed to go on quite well, but he was greatly annoyed by his own suspiciousness: “Here you live, you live, and suddenly, on you, take it and something happens to you.”
Therefore, he never walked along the sidewalks, afraid of a collapsed eaves, but walked in the middle of the street. He never hired a cab, for fear of contracting glanders from horses.
Summer (Congratulations)",
Children at the piano.
Once in Odessa, he exhibited his painting. But a case of bubonic plague was suddenly registered in the city. Lemokh urgently orders his painting from Odessa, carefully disinfects it and hangs it over his sofa. But suddenly the picture breaks and lightly hits him on the neck.
There was a slight swelling and redness, just like with bubonic plague. Suspicious Lemokh became discouraged and began to seriously prepare for death. But even a week later, when the tumor completely disappeared, he was hardly able to be convinced that he was healthy and nothing threatened him.
"The mother of the artist Kramskoy for knitting"
Without a breadwinner
Unhappy boy
Kirill Vikentievich also had a lot of sorrows: his daughter was widowed early and lost her three year old son; in 1904 his wife died. For five years, the artist did not come to Khovrino, where everything reminded him of his heavy losses.
"On the bench. Varka"
Kirill Vikentievich Lemokh died on February 22, 1910 in St. Petersburg. After the funeral service in the church of the Academy of Arts, his remains were brought to the Khimki station near Moscow on February 26 and buried in the Kazan Golovinsky Monastery.
Sources
http://shkolazhizni.ru/archive/0/n-46376/
http://www.art-katalog.com/russian/article/177
http://www.liveinternet.ru/users/nomad1962/post325432542/
http://kykolnik.livejournal.com/825258.html
In front of me is a simply stunning painting by Kirill Vikentievich Lemokh, a talented Russian painter of the 19th century, called "Grandmother and Granddaughter." She was written oil paints, in rather dark colors.
At the first glance at the picture, the grandmother and granddaughter immediately catch the eye. Both of them, under the dim light of the lamp, go about their business. A little girl, with a bright blue shawl draped over her shoulders, is reading a book with interest. Her grandmother in a dark dress and glasses sews something in front of her eyes. Relatives are sitting at a small table, on which is located a large number of various items. On it you can see a glass of water, and an apple, and even a spool of thread, which, of course, helps the old woman in her occupation.
It is impossible not to notice that absolutely the entire room is illuminated by only one chandelier, its rather dim light falls on the table, and the rest of the room is in darkness, and, therefore, all this action takes place in the evening or even at night.
In my own opinion It's just a magnificent work of art. It accurately conveys all the shapes and colors of absolutely every object that is located in this picture.
Some interesting essays
- The image and characteristics of Volodya from the story Quiet morning Kazakov essay
One of the main characters of the work is a boy named Volodya, presented by the writer in the form of a typical city dweller who was visiting the countryside during the summer holidays.
- Fedotov P.A.
Born in Moscow in 1815. The boy was brought up by his father, who was a Suvorov soldier, and later received the nobility for his military merits. Pavel's father wanted to raise him as a real man, and therefore sent his son
- Characteristics and image of Ostap in the story Taras Bulba composition
The story of Taras Bulba by Nikolai Vasilyevich Gogol made a huge impression on his contemporaries. This story reflected the whole truth, the whole essence of the life of the Cossacks. Reflected their traditions, strength Christian faith for the Cossacks
Original taken from potapov_m in WORKS OF KARL (KIRILL) VIKENTIEVICH LEMOKH
"Where did you hang out?" 1897
In the life and art of Karl (Kirill) Vikentievich Lemokh (1841 - 1910) there was, as it were, an external, perhaps a slight contradiction. Having received his initial art education at the Moscow School of Painting, Sculpture and Architecture (1851-1856), he completed it at the Academy of Arts as a participant in the "Riot of the Fourteen" (1863), when the named number of graduates of the Academy declared their desire to choose topics themselves theses.
"New Acquaintance"
This is followed by participation in the organization of the Artel of Artists and the Association of Traveling Art Exhibitions.
The plot of most of the paintings by the itinerant artist K. Lemokh is quite similar. This is the poverty of a family (often a peasant family), a tragedy in the family, children left or left without parents.
"Convalescent" 1889
Hence - "The Round Orphan" (1878), "At the Bed of a Dying Peasant Woman" (1886), "Without a Breadwinner" (1898). The paintings appeal to compassion, to a reminder of Russia destitute, "burned by the sun."
"Children at the piano" 1886
At the same time, the service of K.V. Lemokha passed at imperial court, where he was a teacher of drawing and painting of the rising grand dukes. Apparently, they were satisfied with his attitude to the matter, because by the opening of the Museum of Russian Art K.V. Lemokh was appointed to the post of curator of the art department.
The Wanderer artist remained in this responsible post almost until his death.
"Parental Joy"
"Country Girls" 1892
“For reading. Portrait of Grand Duke Sergei Alexandrovich Romanov, 1886
"At the bedside of a dying peasant woman" 1886
"Grandmother and granddaughter"
"Peasant Yard" 1874
* on the link a small but beautiful essay by Yakov Danilovich Minchenkov
Kirill (Karl) Vikentievich Lemokh was born on June 7, 1841 in Moscow into the family of a music teacher. In 1851-1856 he studied at the Moscow School of Painting, Sculpture and Architecture, from which he entered the Imperial Academy of Arts. Since then, by the nature of his occupation, he lived in St. Petersburg, but he always loved Moscow very much and invariably spent the summer at dachas near Moscow.
The life of Kirill Vikentievich was rich in events. In 1863, he received a small gold medal, but refused to compete for a large gold medal, and left the Academy of Arts with the title of class artist of the second degree. Having taken this significant step, he showed firmness of character, a conscious attitude towards artistic activity and honest comradely solidarity. Fourteen students of the Academy, the most talented, including Lemokh, who were to work for a large gold medal, decided to petition the academic authorities for permission to work not on the same given topic, but for each one to choose for himself the one with which he sympathizes and which he feels more capable of fulfilling better, and decided to withdraw from the Academy in case of refusal. They were flatly refused, and they immediately submitted applications for dismissal, which they had already prepared in advance. At the same time, it should be noted that they were not rich people.
Upon leaving the Academy, they formed an artel of artists on a comradely basis, took orders for portraits, icons, gave lessons and painted pictures for exhibitions. Things went very well for them. On the artistic evenings artels the idea of traveling exhibitions. Kirill Vikentyevich Lemokh became one of the founding members of the Association of Traveling Art Exhibitions, formed in 1870, a member of its Board and a cashier; with his accuracy and honesty in this role, he was indispensable. 
1876 Wanderers. Kirill Vikentievich in the center of the bottom row
One of the most capable students of Kirill Vikentievich was the Grand Duchess Olga Alexandrovna Romanova. According to the memoirist Minchenkov, Kirill Vikentievich suited the position of court teacher like no other artist because of his German origin, the accuracy and delicacy of the direction in art.It is known that at the lessons of the grandson of Nicholas, the future Tsar the Passion-bearer, Alexander II visited and honored the teacher Lemokh with his conversations ... Lemokh earned a pension for teaching the Grand Dukes, then for a long time, from 1897 to 1909 inclusive, was the curator of the art department of the Russian Museum named after Emperor Alexander III.
"Portrait of Grand Duke Mikhail Alexandrovich in the Classroom" 1890s
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910)
“For reading. Portrait of Grand Duke Sergei Alexandrovich (1857-1905)" 1886
Country pages of the life and work of Kirill Vikentievich, judging by the detailed memoirs of his artist friends, are no less interesting.So, N. Bykovsky writes: “ In 1873 he often came to visit me in the dacha area of Vladykino near Moscow from Khovrin, where he had recently purchased a small dacha. He was interested in Vladykin's backyards, dilapidated sheds and dilapidated huts, and he painted many sketches with figures and began paintings, which, upon returning to St. Petersburg, he exhibited at the Academy and was awarded the title of Academician of Painting for them. In Khovrin, in the garden of his dacha, he built himself a spacious workshop and inside it arranged part of a real hut with all its furnishings, so that, sitting in his workshop, he could paint figures from life in an appropriate peasant setting and in such lighting that happens in a hut».
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Where did you hang out?"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Reproach"
unfinished work; two children's silhouettes are visible behind the girl's back
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Without a breadwinner" 1888
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "At the bedside of a dying peasant woman" 1886
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Drunken Husband"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Convalescent" 1889
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Peasant Yard"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Peasant dinner"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "A New Acquaintance"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "A new member of the family"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Portrait of an old man"
Yakov Minchenkov: " Here came sitters from the village when he painted pictures of peasant life. He knew all the peasants in the village and helped almost all of them with money or gifts. He dug a well for the village so that they would not drink from a dirty stream, built huts for fire victims, and gave money for various family needs.Lemokh writes a sketch from a girl and asks his model what they eat and drink milk in her house. The girl replies that they don't drink milk because there is no cow. Kirill Vikentievich goes to the Sunday fair in the nearest village, chooses a cow, pays for it, orders to take the cow to the village and hand it over to the mother of the girl with whom he was talking. It turned out a touching picture: the seller hands the cow to the peasant woman, but she does not take it, because she did not buy it, and her husband has no money. The misunderstanding was finally cleared up, the peasant woman finds out that the good Lemokh sent the cow, and, happy, with tears in her eyes, takes the cow to the barn.
Suburban peasants, spoiled by the city, the nobility, oppression and handouts, poverty and casual easy earnings, constantly deceived their benefactor
Life at Lemokh's dacha was touching, patriarchal.
You used to arrive at the Khovrino station, walk a mile or so through a park and a field, and see a dacha sunk in greenery. Golden rye all around, birches in the distance. It is evening, Kirill Vikentievich wanders along the border in a dark cape and a straw hat with his wife or daughter ... "
.
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Beggar"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Peasant boy" 1897
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Parental Joy"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) sketch
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Sick" 1884
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girl with a kitten"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Orphan"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) “Summer. With congratulations" 1890
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Boy with a dog"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girls"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Peasant Children"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Varka" 1893
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girl with a doll"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Boy" 1900
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girl feeding chickens"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girl on the threshing floor"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girl with flowers" 1883
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "The First Proposal"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Children"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Peasant Girl"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Shepherd Boy" 1885
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Children"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Girl"
Yakov Minchenkov also notes the delicacy of Lemokh - “ not a single harsh word
one hostile thought to anyone- and his rare ability not to judge. " Everyone knew that it was impossible to talk with Lemokh about politics, about public disorder, since he demanded only personal improvement and "non-judgment of his brother." Lemokh was not angry with anyone and did not blame anyone».Life seemed to go on quite well, but he was greatly annoyed by his own suspiciousness: “Here you live, you live, and suddenly, on you, take it and something happens to you.” Therefore, he never walked along the sidewalks, afraid of a collapsed eaves, but walked in the middle of the street. He never hired a cab, for fear of contracting glanders from horses.
Once in Odessa, he exhibited his painting. But a case of bubonic plague was suddenly registered in the city. Lemokh urgently orders his painting from Odessa, carefully disinfects it and hangs it over his sofa. But suddenly the picture breaks and lightly hits him on the neck. There was a slight swelling and redness, just like with bubonic plague. Suspicious Lemokh became discouraged and began to seriously prepare for death. But even a week later, when the tumor completely disappeared, he was hardly able to be convinced that he was healthy and nothing threatened him.
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Grandmother and granddaughter" 1884
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Morning in the Swiss" 1874
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Children at the piano"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Mother of the artist Kramskoy knitting"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "On the bench" 1894
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Unhappy boy"
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Gymnasist" 1885
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Young gamblers"
Lemokh Kirill (Karl) Vikentievich (Russia 1841-1910) "Future locksmith" 1900
Lemokh Kirill (Karl) Vikentievich (Russia, 1841-1910) "Portrait of a boy"
A lot of sorrows also fell to the lot of Kirill Vikentievich: his daughter was widowed early and lost her three-year-old son; in 1904 his wife died. For five years, the artist did not come to Khovrino, where everything reminded him of his heavy losses.But after treatment and a trip to Italy, Lemokh again spent the summer of 1909 in Khovrin and made plans to fix the workshop, which had fallen into disrepair in his absence ... At that time, he painted mainly from the life of peasant children, whom he always had in Khovrin before his eyes.
Kirill Vikentievich Lemokh died on February 22, 1910 in St. Petersburg. After the funeral service in the church of the Academy of Arts, his remains were brought to the Khimki station near Moscow on February 26 and buried in the Kazan Golovinsky Monastery.
According to the memoirs of N. Bykovsky, “ on the day of the funeral the weather was wonderful, clear and sunny. We waited quite a long time outside the monastery walls. Finally away by the brightly lit sun white snow from the side of the village of Khovrino began to wriggle like a black snake and quickly approached funeral procession. In front, as always, walked a boy with an icon, followed by Khovrin's peasant children with wreaths, then a coffin on peasant logs, and Khovrin's peasants accompanying him.
After one lithium at the monastery gates and another at the grave, the coffin with the remains of Kirill Vikentievich was lowered next to his wife and grandson. All three graves were covered with flowers and wreaths and they told him the last forgive! »
Places associated with the name of Kirill Vikentievich in Khovrin and Golovin changed dramatically in the era of new buildings. In the summer of 1970, the general demolition of the temples of the Golovinsky Monastery took place, and there were no traces left of the small cemetery of the monastery. Festivalnaya and Lavochkina streets lay next to the former estate of Lemokha. According to the old-timers, the elevation at the intersection of these streets near the house number 40/49 on Lavochkin Street is the location of the artist's dacha.
