Museum panorama battle of Borodino history. An excerpt characterizing the Borodino panorama

Thursday, September 14, 2017

This week marks the 105th anniversary of one of the most impressive masterpieces of Russian painting, created by a Russian artist French descent Franz Roubaud in Munich - a panorama of the Battle of Borodino.

Especially before this significant event and on the eve of the weekend, we show you how the panorama looks now and tell you why you need to go there.

Watch our report, including from behind the scenes —>

How did the panorama come about?

On September 11, 1912, in the year of the celebration of the centennial anniversary of the Patriotic War of 1812, a Grand opening panorama "Battle of Borodino" by Franz Alekseevich Roubaud.

On Chistoprudny Boulevard a special pavilion was created for the painting.

The newspapers of 1912 vied with each other to report that the pavilion on Chistye Prudy was opened with great fanfare and especially for its opening they searched all over Russia, found and brought to Moscow several veterans and witnesses of that war.

Pyotr Laptev ... Gordey Gromov ... and for some reason an unnamed "old woman".

The panorama on Chistye Prudy did not work for long, already in January 1918 it was closed, and the canvas went to the warehouse. TO pre-revolutionary history in the 1920s and early 1930s, they were treated with great disdain, only a new world was promoted.

After 30 years, in 1948, the canvas fell into the hands of restorers, due to difficult storage conditions, the upper (heavenly) part of the canvas was found unusable, one battle scene was also lost - a battle near the village of Semenovskoye - recreated anew. After that, the painting was mothballed for another 10 years. And only in 1960, on the eve of the 150th anniversary of the War of 1812, they returned to restoration, a new sky appeared at the panorama, and with it the first connecting seam.

By the way, this is how the panorama "behind the scenes" looks like

In 1962, the panorama was released in a specially built building on Kutuzovsky Prospekt. The place was not chosen by chance, because it was here that the very hut of Mikhail Frolov was located, in which the fateful decision was made, which went down in history as the “council in Fili”.

Already after only 5 years, in 1967, as a result of a fire, the canvas was badly damaged, a new restoration was made.

It should be noted that despite all the losses and changes, this picture is the most integral of the three large-scale masterpieces of Roubaud and for the most part is copyrighted.
In 2012, on the eve of the centennial anniversary, the museum was closed. In the course of the work, a new exposition was created, and the subject plan of the panorama itself was updated, practically recreated " Kutuzov hut».

Panorama is not just a painting, but a whole museum

Five reasons to visit the Borodino panorama:

1. Panorama is one of the most large paintings in the world 115 m long 15 m high. The presence of a substantive plan with the terrain, special lighting, as well as the circular arrangement of the canvas allows visitors to plunge into the thick of things and become a full-fledged witness to the decisive battle of the Patriotic War of 1812.

2. The exposition includes not only battle paintings and military ammunition, but also numerous showcases with furniture, books, porcelain, bronze, immersing in the atmosphere of Russia at the beginning of the 19th century, which will appeal to viewers far from military history.

3. Dioramas with everyday sketches, as well as multimedia panels, will not leave indifferent the smallest visitors

5.

4) During the celebration of the 105th anniversary of the panorama museum, special excursions were organized, allowing you to look "Behind the scenes of the panorama"

5) The panorama of the Battle of Borodino is one of the few good museums in Russia dedicated specifically to pre-revolutionary tsarist history.

In the minds of every person there are reference points of history and culture. You need to know them, you should periodically contact them, and even better to see them. Such reference point and is the "Borodino Panorama", written by the great Russian artist Franz Alekseevich Roubaud (Odessa, 1856-1928, Munich).

Roubaud created three panoramas: "Battle of Borodino", "Assault on the village of Akhulgo" and the panorama "Defense of Sevastopol", in total the author painted more than two hundred monumental paintings.

Roubaud's early work relates to the Russo-Persian War. Then he writes a series of canvases about the Caucasian wars. First major work became "The Defense of Sevastopol", written in 1902-1905.

On the centenary of the Patriotic War of 1812, by order of Emperor Nicholas II, Franz Roubaud painted the panorama "Battle of Borodino", depicting battle of Borodino. Work on the canvas was carried out with the participation of I. G. Myasoedov and consultant B. M. Kolyubakin. The panorama was originally opened in 1912 in a specially built pavilion at Chistye Prudy in Moscow. In 1918, the panorama was dismantled and, after a lengthy restoration, reopened on the 150th anniversary of the battle in 1962.

Panorama Museum on Kutuzovsky

Borodino Panorama is located in a building specially built in 1962 on Kutuzovsky Prospekt.

The length of the entire canvas is 115 meters, the height is 15 meters. In the center of the hall there is a platform from which it is convenient to view the picture; on the Borodino field this place is called “Roubaud's height”. Between the platform and the painting, a subject plan with a depth of 13 m was created. The artist depicted the events on the battlefield at about 12.30 pm on August 26 (September 7), 1812. Looking around the panorama, it is worth stopping at several points and considering in detail the events taking place.

The first point is called "At Dokhturov". This is the outskirts of the village of Semyonovskaya. And our point of view - as if from the roof of the surviving house. What happened on that day is accurately described in the memoirs of F.N. Glinka:

“The picture was terrible in that part of the Borodino field, near the village of Semyonovskaya, where the battle was in full swing, like in a cauldron. Thick smoke and bloody steam of the advancing and broken squadrons running ... The village of Semyonovskoye is on fire, houses are settling, burning logs are rolling.

Three officers are visible in the foreground of the picture. A soldier brings three spare horses to them. Chief among them is General Dokhturov. He is depicted at the drum, on his uniform are golden epaulettes. A spyglass is held out to him. By order of the commander in chief, he came to replace the mortally wounded Bagration. Here - in Semenovsky - his command post.

In the background, the grenadiers are attacking, their offensive is supported by artillery, they are counterattacking the French cavalry. In the background, General Konovnitsyn is depicted on a white horse. It was he who, after the wounding of Bagration, took command, gathered the troops and organized their retreat from the flushes. The front line that day passed along the Semyonovsky ravine. This ravine is perfectly visible in the panorama to the right of the village of Semenovskaya.

The village of Semenovskaya is located on the left flank of the Russian army. Ahead, behind the infantry, behind the Utitsky forest - the Old Smolensk road - a direct path to Moscow. In the background, infantry is visible, which is built in a square. Such a formation is necessary to counter the cavalry. If the infantry is built in squares, a square, which bristles with bayonets on all 4 sides, then it is impregnable for the cavalry. The infantry suffers losses mainly from artillery fire.

On the subject plan (its depth is 13 m), a charging box is visible. In such boxes, the kernels were stored and transported. Next to the box is a field gun aimed at the enemy. Also in the foreground is a wounded soldier. This is an infantryman. Infantrymen always had an overcoat with them - this is their difference from other branches of the military. A drummer is depicted on the left bank of the stream. The drummers gave various commands with their drumming. It was very noisy on the battlefield - the roar of guns, the screams of the attackers, the neighing of horses. It was almost impossible to hear any commands, so the officer gave commands through the drummer. in a special way beating the fraction, the drummers gave the soldiers commands - move forward, stop, line up, retreat, attack, etc.

The scene is shrouded in clouds of smoke from exploding grenades, which hit people and horses with fragments during the explosion.

Second point. Here we move to the French positions. Semyonov or Bagration flushes are visible in the background. They were built at the edge of the impenetrable, swampy Utitsky forest. Three arrow-shaped (from the French fleche - arrow) fortifications were made in the form of bulk shafts, in front of which ditches were dug. On one of the flushes the French flag is hoisted. General Pyotr Bagration was seriously wounded on the flashes. But a rumor spread that the general had been killed. The army fell into despondency; one of the participants in the battle described it as follows: "the soul flew off from the left flank."

After taking the flushes, the main blow of the French was directed at the village of Semyonovskaya. The next point can be called “Sorbier artillery”. In the background, the already familiar Semenov flushes are visible. The French took them. Less Russian troops were concentrated on the left flank, and the brilliant tactician Napoleon guessed Kutuzov's plan and concentrated main blow on the left flank. In this place, one Russian soldier is fighting with three Frenchmen, the French in this place had a threefold numerical superiority.

It is worth paying attention to the French artillery - we see guns that stand in one line. In the foreground, closer to the viewer, the cannon is being cleaned. Then, the next gun - its crew takes aim. The third cannon is loaded after firing. Then you can see a broken, disabled gun, shells are scattered next to it. But here comes the guards horse artillery of the French.

The third viewpoint is called "Napoleon's Command Post". Here you can see how the German cuirassiers, who were part of Napoleon's army, went on the attack, but they met an obstacle - a stream. The formation was mixed up, hesitated, it can be seen how carefully, one at a time, the cavalrymen crossed the water barrier. On the right, a trumpeter calls them to restore formation, but they don't have time for that. These are Saxons - they are easily identified by their yellow uniforms.

In the foreground are Napoleon's horse artillery fours. Artillerymen's uniforms are reminiscent of Russian military uniform. Westphalian cavalry rush to help the Saxons. Almost opposite the viewpoint, you can see General Joachim Murat riding a white horse.

It's the eighth hour of the battle. At the Shevardinsky redoubt, on the banks of the Kamenka River, Napoleon himself stands. The river is very small, you can't even see it and its bed looks like a ravine. Napoleon is shown riding a white horse. He is surrounded by four bodyguards who stand at the corners of the quadrangle. The distance from which we see Napoleon is about 2 km from the village of Semyonovskaya.

Behind the emperor are his reserves - the Old and Young Guards, numbering approximately 20 thousand soldiers. Despite the fact that the generals asked Napoleon to give them reinforcements, he replied that he could not risk his last reserve, being three thousand kilometers from Paris.

The fourth point of inspection is "Fight in the Rye". In the background of this point, in the smoke, the white Church of the Nativity of the Virgin of 1701 is visible, which witnessed the events of two patriotic wars (1812 and 1941-45), was badly damaged, then restored and stands on the field to this day.

In the thick of the Saxon cuirassiers, a rider without a helmet, with a bloodied face, is visible. This is a Russian cavalryman who outran his comrades and broke into the enemy formation. This is the only character on the canvas facing the viewer. They say that he has real prototype- This is Ignatius Rybas, the commander of the Life Guards of His Majesty's regiment, who really pulled ahead in this attack, was surrounded by the enemy, but his comrades managed to rescue him. They carried him out all wounded. Ignatius Rybas received the badge of the Order of St. George for this feat.

Events take place on an unmowed rye field. This is a battle between Russian cuirassiers and heavy Saxon cavalry. Russian cavalrymen are depicted in black cuirasses, this is the Arkhangelsk cavalry brigade. The brigade also included the guards hussar Akhtyrsky regiment. Its commander was Denis Davydov. But at this point he has already created flying squad for actions in the enemy rear and in the Battle of Borodino did not participate.

From this point, you can see the figure of Mikhail Bogdanovich (Michael Andreas) Barclay de Tolly - an Ostsee nobleman whose roots go back to medieval Scotland, commander of the 1st Russian army in 1812, a military leader who bore the heavy burden of retreat, who was considered a coward and a traitor to interests Russia. The retreat from the Neman to Smolensk was due to strategic necessity. The "Great Army" of Napoleon had a huge numerical superiority. A border battle with her would lead to the death of the Russian army. Barclay de Tolly understood this and, saving the troops, escaped from the blows of Napoleon deep into the country. This caused disapproval in high society, where rumors spread that the German Barclay was indifferent to the fate of Russia, and among ordinary soldiers and warriors who called (in private) their commander “Chat-yes-and-Only”. It is no coincidence that on the Borodino field Barclay de Tolly was in the forefront of the fighting, it seemed that he was looking for death. On the canvas, he is depicted at the head of a group of senior officers immediately behind the attacking cuirassiers. In the distance, the huts of the village of Gorki are visible and in front of them is a barely distinguishable group of people. This is Mikhail Illarionovich Golenishchev-Kutuzov with his staff.

Kutuzov commanded the Russian army from mid-August 1812 to the end of April 1813. After his death, it was Barclay de Tolly who led the Russian army. Under the leadership of Barclay, the Russians entered Paris.

In this fragment of the panorama, the multinational character of the “Great Army” is clearly visible. No wonder our ancestors called the war of 1812 "an invasion of the Gauls, and with them twelve languages." Saxon cuirassiers in yellow uniforms are already familiar to us, in the background their attack is supported by the Polish cavalry of Jozef Poniatowski. For some reason, F.A. Rubo depicted them under an inverted Polish flag. Also visible in the background is the Italian cavalry led by Eugene de Beauharnais.

On the far right in the clouds of powder smoke - Kurgan height. It housed the battery of General Raevsky. In this place, our troops were in a very disadvantageous position and suffered huge losses.

The fifth point is “Kutuzov’s command post.” The commander-in-chief himself is barely distinguishable - after all, he is located about four kilometers from Semyonovsky. The headquarters of Field Marshal Kutuzov is located in the village of Gorki. Russian reserves are visible on the right. These are guards cavalry units, including the famous Preobrazhensky, Izmailovsky and Semenovsky regiments. Kutuzov revealed Napoleon's plan and orders the troops to be transferred from the village of Borodino to the left flank.

A birch tree is visible on the right side of the subject plan. She is real. In the distance, in the background, is a field hospital, white tents are visible. The mortally wounded General Bagration is being transported on a wagon. Our troops are lined up and salute their general. We went full circle and returned to the starting point - the village of Semyonovskaya.

About 135 thousand participated in the battle French soldiers. They were opposed by 120 thousand Russians. These figures refer to regular troops. In fact, there were about 150 thousand soldiers in the Russian army, including militia warriors. On our side, 40-43 thousand soldiers, 27 generals, died. WITH French side- 38 thousand soldiers, 50 generals, 1 marshal.

Here is how M.I. Kutuzov spoke about the results of the Battle of Borodino: “This day will remain eternal monument the glory of Russian weapons, when all the infantry, cavalry and artillery fought desperately. Everyone's desire was to die on the spot and not yield to the enemy. On that day, the hand of the strongest enemy in spirit was laid on the French for the first time.

According to Napoleon, “out of the 50 battles I gave, the most courage was shown in the battle near Moscow and the smallest results were achieved.”

Materials used in the description of the panorama

• Museum-panorama "Battle of Borodino" is dedicated to the largest battle of the Patriotic War with France in 1812.
• Blade length Panorama of Borodino, painted in 1912 by battle painter Franz Roubaud, is 115 meters.
• Each episode of the battle can be considered in detail.
• Exposition of weapons and equipment of two armies, awards, items applied arts, graphics and painting inspired by the event.
• where the fateful military “council in Fili” took place, depicted by L. Tolstoy in the novel “War and Peace, with preserved icons and a stove.
• All important information has been translated into English, there are audio guides, it is possible to get on a guided tour.

On Kutuzovsky Prospekt there are two large memorial complex dedicated to two patriotic wars: on Poklonnaya Hill and the museum-panorama "Battle of Borodino". Panorama "Battle of Borodino" is dedicated to biggest battle Patriotic war with France, which is revered in Russia as a feat of Russian soldiers and officers. On September 7, 1812, not far from Moscow, Russian troops under the command of Field Marshal Mikhail Kutuzov and the army met in a mortal battle. french emperor Napoleon I. There are still disputes about the outcome of the battle. The parties suffered heavy losses, no one achieved a decisive victory.

The canvas depicts the battlefield as of 10 o'clock in the morning. The viewer, as it were, is in the center of the Russian positions near the village of Semenovskoye. The artist tried to create the impression that time has stopped, and the viewer can see in detail each episode of the battle. Credibility is added by the scenery in the foreground, which depicts a burning village, a broken battery and an abandoned camp, where a camping cauldron still hangs over a fire. The panorama site is equipped with electronic scoreboards with comments on individual panorama episodes.

In addition to the panorama and the already mentioned exposition, in museum complex includes the Kutuzovskaya hut, the temple-chapel of the Archangel Michael and. In the place where the panorama is now located, the village of Fili used to be located, in which, after the Battle of Borodino, the headquarters of the Russian army was located. Then the fateful military "council in Fili", depicted in "War and Peace", passed. At this council, it was decided to leave Moscow, saving the army for regrouping and future battles. Since then, the expression "council in Fili" has become a household word, meaning a tense discussion before a serious decision.

The hut in which the historic meeting took place belonged to the peasant Mikhail Frolov. To this day, icons, a tiled stove and a bench, on which, perhaps, the field marshal himself sat, have survived from the original furnishings. The hut was first recreated as a museum in 1886 according to a drawing by A. Savrasov. In 2010, after the test of time and circumstances, the museum was restored and reopened to visitors. Now in the hut there is an exhibition dedicated to M. Kutuzov and the peasant life of his time; there are also interactive activities for children.

In 1912, next to the hut in honor of the Archangel Michael, the heavenly patron of the Russian army, a chapel was erected. It was founded on October 1, 1910 - in memory of the name day of Mikhail Illarionovich Kutuzov. The chapel in the historical Russian-Byzantine style was built by architects N. Strukov and M. Litvinov. The building of the chapel was decorated with decor and mosaics. This chapel-museum became the first "named" museum of Kutuzov in Russia: it contained samples of weapons and uniforms of 1812, personal belongings of the field marshal. The traveling carriage of Mikhail Illarionovich, in which he traveled through many battles, was also kept in the museum - the “nail” of the exposition.

Services in the chapel continued until 1930: representatives Soviet power decided that the chapel should be closed as an object of worship, and with it the museum. The dome was demolished, and if it were not for the architect P. Baranovsky, who was included in the expert commission for assessing the value of the historical monument, the temple would have met the saddest fate. The building survived, but began to serve the workers' club, and then - the USSR Ministry of Finance and a private enterprise. Only in 1994 the chapel was returned to the Moscow Patriarchate. After restoration, it began new life: Patriarch Alexy II consecrated the temple-chapel on November 17, 2000. Now both the chapel-museum and the Kutuzov hut are included in the memorial complex-museum of the Battle of Borodino.

Konyushevskaya Lyubov Leonidovna

All-Russian competition « New Russia starts from 1812"

Research work on the topic:

Completed by: student of 10 “A” class

MBOU Zapolyarny district

"Secondary school p. Seekers"

Konyushevskaya Lyubov Leonidovna

Scientific adviser:

Pochepinets Olga Alexandrovna

teacher visual arts,

drafting and MHC

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Preview:

All-Russian competition "New Russia begins in 1812"

Research work on the topic:

“Battle of Borodino” in the works of F. A. Rubo

(museum - panorama "Battle of Borodino")

Completed by: student of 10 “A” class

MBOU Zapolyarny district

"Secondary school p. Seekers"

Konyushevskaya Lyubov Leonidovna

Scientific adviser:

art teacher,

Drawings and MHK

Pos. Seekers

2012

Introduction …………………………………………………………........................... ....2

Chapter 1. Museum - panorama "Battle of Borodino" ….…………………………..........3

1. The history of the creation of the museum………………………………………………………………………………….3

Chapter 2

2.1. Creating a panorama………………………………………………………………..3

2.2. Panorama fragments………………………………………………………………...4

Conclusion……….…………....….................................... ...............................................6

Applications……………………………………………………………………………..7

INTRODUCTION

Target: To convey to the present generation what a deep trace in public life left Patriotic War 1812.

Tasks:

Relevance : 1) The growing interest of young people in combat battles;

2) The centenary of the museum - the panorama "Battle of Borodino";

3) 200th anniversary of the Battle of Borodino.

Why I chose this topic:I chose this topic because I was inspired by a trip to the museum - the panorama "Battle of Borodino". Thanks to this excursion, I had a desire to learn as much as possible about the museum.

Chapter 1. Museum - panorama "Battle of Borodino".(Annex 1)

1. The history of the creation of the museum

October 18, 1962, during the celebration of the 150th anniversary of the Patriotic War of 1812, in Moscow on Kutuzovsky Prospekt, the Battle of Borodino Panorama Museum was opened, dedicated to biggest battle this war. The museum building was built on a historical site. Here was the village of Fili, where on September 13, 1812, in the hut of the peasant A. Frolov, at the Military Council held under the chairmanship of Mikhail Illarionovich Kutuzov, the fate of Moscow, the fate of Russia, was decided. The people lovingly called this hut "Kutuzovskaya". Acquisition of funds of the Museum-panorama "Battle of Borodino" began immediately after its organization in 1962. First of all, it was necessary to identify and collect materials. To date, thanks to many years of painstaking work to identify and acquire monuments of the 1812 era by several generations of the Museum employees, thanks to the active help of collectors, as well as the descendants of the participants in the Patriotic War of 1812, the stock collection of the Panorama Museum has about forty thousand items. The main theme of the Museum acquisition was and remains: "Patriotic War of 1812".

Chapter 2. The pride of the museum is the panorama.

2.1. Creation of a panorama.

The battle of Borodino was a "battle of giants", bloody, stubborn, terrible. It happened on September 7, 1812, 124 kilometers west of Moscow near the village of Borodino. From the Russian side, 120 thousand people participated in it, from the French - 135 thousand people. It was in this battle that the myth of the invincibility of the Napoleonic army was first dispelled. The panorama "Battle of Borodino" resurrects this historical battle, its author is an outstanding battle painter, academician Franz Alekseevich Roubaud (1856-1928) (Appendix 2). He entered the history of Russian art as the creator of the first domestic panoramas. Panorama - special kind visual arts. It combines a painting canvas with a substantive layout of the area and real objects. The pinnacle of the artist's work was the creation of the panorama "Battle of Borodino". F. A. Roubaud and his assistants worked on it for two years (1910-1912). The panorama was painted for the 100th anniversary of the Battle of Borodino. From 1912 to 1918 it was demonstrated in Moscow. Since 1918, the painting was removed and for many years it was not exhibited anywhere. Due to the long, far from ideal storage, the painting was badly damaged. A great deal of work on its restoration was done by Soviet art restorers. They recreated the lost parts of the painting, recreated the foreground subject plan. Painting canvas panorama "Battle of Borodino" is 115 meters long and 15 meters high. It reproduces one of the tense climaxes of the battle, when Napoleon made a second attempt to defeat the Russians on the left flank near the village of Semyonovskaya. Franz Alexandrovich Roubaud captured the unshakable steadfastness, heroism, perseverance, courage and courage of the Russian army in this battle.

2.2. Fragments of the panorama.

I..(Appendix 3). The battle for the village of Semenovskaya. At the drum - General Dokhturov. He had just taken command of the left flank of the Russian army, replacing the seriously wounded P. Bagration.

II. Fragment of the panorama "Battle of Borodino". F. A. Rubo.(Appendix 4). The Moscow and Astrakhan grenadier regiments pass through the dilapidated village of Semenovskaya. In the depths, top right, the Izmailovsky, Lithuanian and Finnish Guards regiments. By the forest, along the road, a division of Russian cuirassiers rushes at a trot.

III.

(Appendix 5). The grenadiers of the combined grenadier division (in high shakos) and the Pavlovians (in pointed helmets) counterattack the French. The attack of the cuirassiers of General Nansouty is beaten off by the Russian guards regiments. The Russian guards artillery is firing at the enemy.

IV. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 6). Soldiers from the consolidated grenadier division wade across the Semenovsky stream. Some climb the steep slopes of the ravine, and on the opposite bank a fierce battle ensued between Russian soldiers and infantrymen of the French division of General Friant.

V. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 7). Near the forest - the famous Russian fortifications captured by the French - Semenov (Bagrationov) flushes, which were defended by the troops of Pyotr Ivanovich Bagration. Along the ravine - the artillery of General Sorbier supports the offensive of the French infantry with fire.

VI. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 8). At the edge of the forest - the corps of the French marshals Ney and Davout, their capture cost the French dearly - 30 thousand killed and wounded. A French horse guard battery leaves for a firing position. A powerful shelling of the village of Semenovskaya and the Raevsky battery is being prepared.

VII. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 9). Away, on the left - Shevardinsky redoubt - Napoleon's command post. On a white horse at the head of the retinue - Napoleon. On a black horse - the commander of the cavalry corps, General Latour-Maubourg. Near the road, Marshal Murat (on a white horse) watches the cavalry enter the battle.

VIII. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

(Appendix 10). The rapid movement of the Saxon cuirassier brigade delays the deep Semenovsky ravine. At the edge of the forest - the Italian Guard. Across the river Kolocha - corps commander Eugene Beauharnais with his retinue.

IX. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 11). “Fight in the Rye” is one of the culminating fragments of the panorama. Here the French and Russian cuirassiers collided chest to chest. In the background - the dragoons of the Kyiv and Novorossiysk regiments are counterattacking the Polish uhlans. In the distance, the village of Borodino, captured by the French, is on fire.

X. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 12). Cuirassiers from the brigade of General Borozdin II are rapidly rushing to attack. Kurgan height is enveloped in thick powder smoke. The glorious defenders of the Raevsky battery are engaged in a firefight with the enemy. Regiments of the 4th Infantry Division are coming to the rescue.

XI. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 13). Akhtyr hussars and Astrakhan cuirassiers are moving menacingly into battle. In front, in a green uniform, the commander of the brigade, General Borozdin, is the second. Away, near the village of Gorki, the command post of the Russian commander in chief. Surrounded by his headquarters, Mikhail Illarionovich Kutuzov. In the background, the second and third cavalry corps are moving forward from the reserve.

XII. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.(Appendix 14). At the birches - the Semenovsky and Preobrazhensky Guards regiments are in reserve. On the way to the dressing station near the village of Knyazkovo, wagons with the wounded are drawn. In the latter, harnessed by a trio of horses, the seriously wounded General Bagration is sent to the rear.

Conclusion.

The purpose of my work was to determine for the current generation the significance of the Patriotic War of 1812 in the history of our country and people. To achieve the goal, I tried to talk about the importance of creating a monument of memory, great in terms of volume and significance, about the exploits of Russian soldiers in these harsh war years. Museum Panorama Battle of Borodino is the only museum whose exposition is entirely dedicated to the Patriotic War of 1812, and the panorama itself is a brilliant example of the military history painting beginning of the 20th century. For posterity, the museum is a historical original, where good and evil, courage and weakness, love of freedom, fortitude, great love to the country and its people. Such historical monuments they will never allow us to remain indifferent to the events of the war years, moreover, reminding us of the harsh past, they warn us against mistakes.

Application.

Annex 1.

Museum - panorama "Battle of Borodino".

Appendix 2

Franz Alekseevich Roubaud (1856-1928) battle painter, academician.

Appendix 3

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Appendix 4

1. Fragment of the panorama "Battle of Borodino". F. A. Rubo

Appendix 5

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Appendix 6

1. Fragment of the panorama "Battle of Borodino". F. A. Rubo

Appendix 7

1. Fragment of the panorama "Battle of Borodino". F. A. Rubo

Appendix 8

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Appendix 9

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Annex 10.

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Annex 11.

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Annex 12.

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Annex 13.

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Annex 14

1. Fragment of the panorama "Battle of Borodino". F. A. Roubaud.

Explanatory note (for the teacher).

The Museum-Panorama “Battle of Borodino” has been standing at the end of Kutuzovsky Prospekt for 50 years. The building, very laconic in its architecture, not beautiful, rather utilitarian, was erected in 1962 for the 150th anniversary of the Battle of Borodino.

The unusual round shape is subordinated to the purpose of the building - the exposition of a colossal panorama painting, painted in turn for the 100th anniversary of the Battle of Borodino. The authors of the project are Soviet architects Korabelnikov, Kuzmin and Kuchanov and engineer Avrutin. When designing, they used the recommendations of F.A. Roubaud, given by him during the construction of the original building of the panorama.

Panorama F.A.Rubo

Stop! This is where you should have started! After all, the main thing here is precisely the panorama painted by Franz Alekseevich Roubaud, wonderful artist, French by origin, German by language and a real Russian person by spirit. Franz Roubaud was born in 1856 in Odessa in the family of a bookseller from Marseille, Alex Roubaud. IN early childhood Franz showed interest in drawing and at the age of nine he was assigned to the Odessa School of Drawing and Drafting. In 1877 he entered the Bavarian Royal Academy of Arts in Munich.

Roubaud's teacher was the famous battle painter Josef Brandt. During the holidays, Franz constantly traveled to Russia, traveled around the Caucasus and Central Asia. In the 80s. XIX century Roubaud painted 19 large canvases for the “Temple of Glory” in Tiflis. To fulfill this order, the artist carefully studied the history of the Caucasian wars, painted many sketches, including a whole portrait gallery of the Caucasian highlanders.

In 1889, Franz Alekseevich was already quite famous.

The Imperial Society for the Encouragement of Arts organizes its first personal exhibition. For this exhibition, Roubaud specially painted several canvases, including the “Living Bridge” presented at the Borodino Panorama Museum.

F.A. Rubo. "Living Bridge"

This episode has nothing to do with the Napoleonic Wars, it is taken from the history of the Persian campaign. Colonel Karyakin, who was at the head of a small detachment of Russian troops, retreated to the Mukhrat fortress. On the way, his soldiers met a deep crevice, through which it was impossible to transport the guns. To abandon the cannons meant to give them to the enemy and cover oneself with indelible shame. Then one of the soldiers jumped down to the bottom of the crevice. Others followed his example and, standing on each other's shoulders, they built a bridge with their bodies. On it, and managed to transport the guns.

After the exhibition, Roubaud begins creating his first large panorama. She was dedicated key event Caucasian wars- the assault on the stronghold of Shamil, the mountain fortress of Akhulgo.

This panorama was preserved in the form of 4 fragments, which are in poor condition, since in 1924 it suffered from a flood, and then was transferred to the Dagestan Museum, where there were no conditions for its restoration.

F.A. Rubo. "Defense of Sevastopol"

In 1901, the artist received an official order to create the panorama "Defense of Sevastopol". Franz Alekseevich worked on it for about 3 years. In May 1905, the panorama was presented to the public, and from 1909 it was placed in a special building in Sevastopol. In the summer of 1942, shortly before the fall of Sevastopol, the panorama building caught fire from a Nazi air bomb. The defenders of the city cut the panorama into 86 pieces and took it out of the city on a warship. After the war, all units were reunited and returned to Sevastopol.

While working on this panorama, Roubaud found out about his election as a professor at the St. Petersburg Academy of Arts, and a few years later the master was elected an academician and awarded the order St. Anna 2nd degree.

F.A. Rubo. Panorama “Battle of Borodino”

In 1909, preparations began in Russia for the celebration of the 100th anniversary of the Battle of Borodino. F.A. Rubo proposes to write a panorama dedicated to the feat of the Russian people in the war of 1812. The idea was supported by and The highest level and among the Russian public.

Initially, the artist wanted to depict successive events from 10:00 to 12:00 on September 7 in a panorama. However, the commission for the celebrations proposed a different plot: the climax of the battle, the fall of the Semenov flushes and the massive attacks of the Napoleonic cavalry. Influenced by the plot foreign policy- it was the time of the creation and strengthening of the Entente - the Russian-French military alliance, which was later joined by Great Britain.

Franz Roubaud complained: “I am writing a panorama for the Russians, and they make me write the triumph of the French.”

Preparatory work - studying the sources, getting to know the area, writing sketches took two years, the panorama itself was written in 11 months. A temporary wooden pavilion was built for its exposition.

In the summer of 1912, the building was completed, the panorama was placed, and the artist was able to note with satisfaction that it (the panorama) was successful and better than the one in Sevastopol. was the last in the work of the master. In 1913, he left for Germany, believing that for a while, but it turned out that forever. Started I World War, then the October Revolution forced the artist to stay in Europe. He, being French by nationality, for a long time who lived in Germany, always considered himself a Russian artist. “... I was born and lived for more than 22 years in Russia, where I received my education, I exclusively paint pictures from Russian life and Russian military life, for all these signs I should be considered a Russian artist.” In Europe, Roubaud failed to write anything even close to artistic value To .

Franz Alekseevich died in 1928 in Munich. His artistic heritage includes more than 200 paintings and many sketches and drawings.

The history of the panorama itself turned out to be much more dramatic than the history of its creator. After the October Revolution, the Bolsheviks handed over the building of the panorama along with the painting by F.A. Rubo to the Electrotechnical School. The building began to be used for meetings and rallies, and by the spring of 1918 it had fallen into complete disrepair. The canvas was removed, rolled onto a wooden shaft, and for almost 40 years it was stored in completely unsuitable premises - under the stage in the Neskuchny Garden, in the basement of the Alexander Nevsky Cathedral (later destroyed), in the warehouse of the Hermitage Garden. Considering the dismissive-nihilistic attitude of the communists towards national history, it can be considered a miracle that the canvas was preserved at all. In 1939, Igor Grabar himself recognized the impossibility of its restoration. However, in the 50s. 20th century studio artists battle painting them. Grekov were able to restore the canvas. At the same time, about 150 m2 were restored battle scenes and about 500m2 of sky. On October 18, 1962, the Panorama Museum reopened its doors to its guests.

More topics are devoted to the Borodino Panorama Museum.