Private bussiness
Nikolai Alexandrovich Yaroshenko (1846 - 1898) Born in Poltava in the family of a retired military man. His father managed to make a brilliant military career, rising from private to major general. He believed that his son would also become a military man, and although the boy showed the ability to draw from childhood, he sent him to the Poltava Cadet Corps. According to the artist's wife, Nikolai Yaroshenko entered the Poltava Cadet Corps in 1855. However, a commendation sheet with the inscription "to the young cadet Nikolai Yaroshenko", dated March 8, 1854, has been preserved, so that Yaroshenko was already a cadet at the age of eight. In Poltava, Yaroshenko began to study painting, his first mentor was the local artist Ivan Zaitsev, who served as a drawing teacher in the cadet corps.
Since 1856, Nikolai Yaroshenko was transferred to the First Cadet Corps in St. Petersburg. After graduating from the cadet corps, Yaroshenko entered the Pavlovsk military school in August 1863. While still a cadet, he began taking private drawing lessons. One of his teachers was the artist Andrian Volkov. Later, Nikolai Yaroshenko attended evening classes at the drawing school of the Society for the Encouragement of Arts, where he taught. After completing his studies at the school, he, at the behest of his father, continued his military education, enrolling in the Mikhailovsky Artillery Academy. At the same time he became a volunteer at the Academy of Arts. There he became close to members of the Association of Traveling Exhibitions. At the IV traveling exhibition, held in 1875, Yaroshenko's first painting "Nevsky Prospect at Night" was exhibited. March 7, 1876 Nikolai Yaroshenko was admitted to the Association, and was soon elected to its board.
After graduating from the military academy, Nikolai Yaroshenko entered the military service at the St. Petersburg Cartridge Plant, where he served for more than 20 years, retiring in 1892 with the rank of major general. All this time, in parallel with the service, he was engaged in painting. He was a regular participant in traveling exhibitions.
In 1874, Yaroshenko married Maria Nevrotina, a student of the Bestuzhev courses. From his honeymoon trip to the Caucasus, he brought a lot of mountain landscapes, which were highly appreciated by critics and exhibition visitors. Among the friends of Nikolai Yaroshenko were not only artists: Nesterov, Kuindzhi, but also Sergei Rachmaninov, Leonid Sobinov, Gleb Uspensky, Leo Tolstoy. Many of them were frequent visitors to the "Yaroshenko Saturdays" in the St. Petersburg apartment of the artist.
In 1885, the artist buys a house in Kislovodsk, where he spends every summer. There, too, his friends often visit him.
After his retirement, Nikolai Yaroshenko lives most of the time in his Kislovodsk home. But in 1897 he made a great journey through the Volga region, Italy, the Middle East and Egypt. Then he went to the Urals, where he worked on sketches for a series of paintings he had conceived about the life of mining workers.
Nikolai Yaroshenko died in Kislovodsk on June 26 (July 7), 1898. He was buried near the city's St. Nicholas Cathedral.
What is famous
Self-portrait 1895
Nikolai Yaroshenko is best known as a portrait painter, author of genre paintings and images of social types of his time (“Stoker”, “Prisoner”, “Life is Everywhere”, “Student”, “Sister of Mercy”, “Cursist”, “Old and Young”, “ Cause unknown). In portraits, he tried, first of all, to convey the psychology of the hero. The artist's wife said: "He could not paint faces that did not represent any spiritual interest." Known are the portraits of I. Kramskoy, N. Ge, Vl. Solovyov, G. Uspensky, actresses P. Strepetova.
Many of Yaroshenko's paintings caused lively controversy among critics. The artist was often accused of tendentiousness, there were often discussions around social problems that were reflected in his paintings. The landscapes of Yaroshenko's work are less famous, although they received the highest rating from fellow artists. Repin even wrote: "Yaroshenko should have switched to landscapes instead of painting and portraits...".
What you need to know
Perhaps the most famous painting by Nikolai Yaroshenko was Life Everywhere (1888, kept in the Tretyakov Gallery), exhibited at the 16th exhibition of the Wanderers. The painting depicts the inhabitants of the prisoner's car: three men and a woman with a child, feeding pigeons through a barred window. Yaroshenko created it, being influenced by Tolstoy's ideas, and even wanted to give the painting the title "Where there is love, there is God." Many viewers tried to figure out what brought the heroes of the picture to jail: a widow in a black headscarf, an old peasant and others. “Behind the bars in the window you will see the holy family. The Madonna, thin and pale, holding the baby Savior on her knees with a hand stretched out for blessing and the figure of bald Joseph towering behind, ”wrote the critic Kovalevsky. Another review said that the picture embodies "the general idea of the power of goodness and the power of love for life, attention to the" humiliated and offended ", the disclosure of humanity and the best aspects of the inner world in every person, no matter how criminal it may seem."
Direct speech
“Nikolai Alexandrovich had a whole nature. He always and everywhere kept himself open, without fear of expressing his views, he never went to any deals.<…>Nikolai Alexandrovich, truthful, principled, could not stand falsehood either in people or in art; he did not tolerate vulgarity and people affected by this disease. Nikolai Alexandrovich was not what is usually called a "politician", his actions were not intricate machinations - they were simple, sober and straightforward. He did not know any compromises. One could disagree with his views, challenge them, but never suspect petty, unworthy motives. His moral character was pure, not hypocritical.
The artist about Nikolai Yaroshenko
“Admire her: a man’s hat, a man’s cloak, dirty skirts, a tattered dress, a bronze or greenish complexion, a chin forward, everything in cloudy eyes: aimlessness, fatigue, anger, hatred, some kind of deep night with a reflection of a swamp fire - what it is? In outward appearance - some kind of hermaphrodite, inwardly a genuine daughter of Cain. She cut her hair, and not in vain: her mother so marked her Gapok and Palashki "for sin" ... Now she is alone, with a grave cold in her soul, with oppressive anger and longing in her heart. There is no one to pity her, there is no one to pray for her - everyone has abandoned her. Well, maybe it’s better: when he dies of childbirth or typhus, there will be no scandal at the funeral.”
Professor of law Petr Tsitovich in the film "Cursist"
“Each of us has seen and sees such girls“ with a book under her arm ”, in a plaid and a man’s round hat, every day and for many years in a row ... And now the artist, choosing from all this crowd of“ running with books ”one of the most ordinary, an ordinary figure, furnished with the most ordinary accessories of a simple dress, a plaid, a man's cap, cut hair, subtly notices and conveys to you, the "spectator", the "public", the most The main thing... This is the main thing: purely feminine, girlish features, imbued in the picture, so to speak, with the presence of a youthful, bright thought... , how to say, - a new male trait, a trait of bright thought in general (the result of all this running around with books) ... Here is this most elegant, not invented, and, moreover, the most real fusion of girlish and youthful features in one person, in one figure, overshadowed not feminine, not masculine, but “human” thought, immediately illuminated, comprehended both the cap, and the plaid, and the book, and turned it into a new, born, unprecedented and bright human image.
Gleb Uspensky "About one picture" (about the painting "Cursist")
“The portrait of Gleb Uspensky, exhibited simultaneously with the portrait of Strepetova, was perceived by the audience almost as a pair to him. Painting (composition, color) did not give grounds for comparison; the portraits were related by the "general character" of the depicted persons conveyed in them.
The portrait of Gleb Uspensky is, perhaps, “more open”, more turned towards the viewer than Strepetovsky, a cordial connection between the viewer and the person in the portrait is established instantly (Ge said in such cases: “Like Romeo and Juliet, looked back and forth - and that’s it, feeling, Love"). Strepetova, written by Yaroshenko, is more "in itself", her portrait requires more intense mental work from the viewer: the idea of the portrait, "the thought about", "the sum of signs" and "general character" are taken in, realized by the viewer, cause certain thoughts in him, create a certain mood with which he, as if from a higher spiritual point, continues to comprehend the portrait. Probably, Kramskoy, speaking about the portrait of Strepetova, remembered Dostoevsky not only because he found similarities in the work of the writer and artist, but also because in front of Yaroshenko's portrait of Strepetova, he came to mind the portrait of Dostoevsky himself, painted by Perov - also all "in itself ".
Approaching the portrait of Gleb Uspensky, the viewer meets a look directed directly into his eyes, into his soul, and in this look there is such grief, such unrepressed pain that it causes an instant response. In Strepetova, the power of a general nature is clearer; in Gleb Uspensky, this harmony - the harmony of tragedy in a man of the eighties - is somewhat broken, hacked - by the predominance of pain.
V. I. Porudominsky on portraits by Yaroshenko
Seven facts about Nikolai Yaroshenko
- Students of the Poltava Cadet Corps, whose pupil was Nikolai Yaroshenko, took part in the restoration of the fortifications of the Russian army at the site of the Poltava battle.
- One of the early drawings of Nikolai Yaroshenko is titled by him "Considerable chic." It depicts cadets at a summer camp. Against the backdrop of tents, one of them is blowing up the samovar with his boot, while the rest are preparing for tea.
- The hero of the painting "Stoker" Yaroshenko met in one of the workshops of the plant where he served.
- Anna Chertkova (Diterichs), the wife of Leo Tolstoy's secretary Vladimir Chertkhov, a student of the Higher Women's Courses, became the prototype of the "Cursist".
- Yaroshenko's first painting, Nevsky Prospekt at Night, was lost during World War II.
- Leo Tolstoy was going to take refuge in Yaroshenko's house in Kislovodsk when he planned his first escape from Yasnaya Polyana.
Quote message"He could not write persons who did not represent any spiritual interest" ... Yaroshenko Nikolai Alexandrovich (1846-1898)
“A big man”, “outstanding”, “noble”, “most honest”, “artist-thinker”, “brilliant interlocutor”, “artist-intellectual” - this is how those who happened to know him personally paint the image of Nikolai Aleksandrovich Yaroshenko.
Self-portrait. 1895
Nikolai Aleksandrovich Yaroshenko (December 1, 1846, Poltava - June 26, 1898, Kislovodsk) - Russian painter and portrait painter, an active participant in the Association of Traveling Art Exhibitions; A military man by education, he completed his service with the rank of Major General.
The future artist was born in 1846 in Poltava in the family of a Russian officer, later a general. In 1855 he was enrolled in the Petrovsky Poltava Cadet Corps. Along with daily military training and drill training on the parade ground, Nikolai was also engaged in painting.
In the city cadet corps, drawing was taught by Ivan Kondratievich Zaitsev, the son of a serf artist, who graduated from the Academy of Arts. Two years later, Yaroshenko was transferred to the First Cadet Corps in St. Petersburg. In 1860, at the age of 14, Yaroshenko began to study on weekends and holidays in the studio of the artist Adrian Markovich Volkov, known for his paintings "Demyanov's Ear", "Interrupted Betrothal" and "Hay Square".
Self-portrait. 1875 
Maria Pavlovna Yaroshenko, 1875, Poltava Art Museum
After graduating from the Cadet Corps and enrolling at the Pavlovsk Military School, Yaroshenko began attending evening classes at the drawing school of the Society for the Encouragement of Artists, where Ivan Kramskoy taught. In 1867, Yaroshenko entered the Artillery Academy, at the same time, as a free student, he began to attend classes at the Academy of Arts. It required strength of character and a passionate love for art, so that while studying at the military academy, and then serving at the St. Petersburg cartridge factory, to complete his artistic education. In the early 1870s, the first portraits of the artist appeared: "The Old Man with a Snuffbox", "Peasant", "Old Jew", "Ukrainian Woman". In those days, a new democratic art developed outside the walls of the Academy. Yarosheko became a frequent regular at I. N. Kramskoy and P. A. Bryullov’s drawing evenings. Soon, after graduating from the Academy of Arts in 1874, Nikolai Alexandrovich Yaroshenko married Maria Pavlovna Navrotina, who became his faithful companion and friend until the end of his life. The first visit to Kislovodsk by young spouses belongs to the same period.
Ukrainka, 1870s, museum-estate of the artist, Kislovodsk
Student girl, 1880, Russian Museum 
Kicked out, 1883, State Museum of Arts of Uzbekistan, Tashkent
After the first portraits in the summer of 1874, Yaroshenko began to paint his first large painting, Nevsky Prospect at Night, which he presented at the IV Traveling Exhibition. The opinions of critics about the work of the young artist were divided, but even the most notorious skeptics admitted that the picture was popular with the public. In March 1878, after the opening of the VI Traveling Exhibition, Yaroshenko spoke about St. Petersburg. In his works, the artist sought to express the spirit of the times, the paintings "Stoker" and "Prisoner", presented at the exhibition of the Wanderers, became symbols of the era of reforms of Emperor Alexander II.
Shat Mountain at dawn, 1884 
Clouds in the mountains, 1880 
Teberda lake, 1894
These three landscapes are in the memorial estate museum of the artist N. A. Yaroshenko in Kislovodsk
Yaroshenko's remarkable contribution to Russian painting was a cycle of paintings dedicated to the progressive Russian youth, the raznochinstvo revolutionary students. Yaroshenko's "Coursegirl", young, charming, was no less a revelation than the paintings "Stoker" and "Prisoner". The canvas "Coursegirl" was the first image of a student woman in Russian art. The craving of women for education, for independence in that era was extremely high. Therefore, the picture of Yaroshenko was especially in tune with the time. One of the best works of Yaroshenko was the painting "Student", which appeared at the X Traveling Exhibition. This is a kind of "historical" portrait of the generation, personifying the whole stage of the liberation movement of the 1870s.
Female student, 1883, Kiev Museum of Russian Art 
Girl with a doll, 1880s, private collection 
Actress Pelageya Antipyevna Strepetova, 1884, Tretyakov Gallery
Perhaps best of all, Yaroshenko succeeded in original historical images, portraits of prominent people of the second half of the 19th century, the artist's contemporaries. In them, through the characterization of one specific person, he was able to show the typical features of a contemporary, he was able to convey the very essence of the hero, moral and social. Obviously, by the nature of his talent, Yaroshenko was a born artist-psychologist. And indeed, in the work of the painter, the portrait is represented by most of the paintings. The portrait of the actress Pelageya Antipievna Strepetova was rightfully considered a masterpiece of portraiture of the 1870-1880s.
Writer Gleb Ivanovich Uspensky, 1884, Yekaterinburg Museum of Fine Arts 
Poet Alexei Nikolaevich Pleshcheev, 1887, Kharkov Art Museum, Ukraine 
Mikhail Evgrafovich Saltykov-Shchedrin, 1886, memorial estate museum of the artist Yaroshenko, Kislovodsk
The 1888 painting "Life Everywhere" became the crowning achievement of Yaroshenko's creative maturity and received national recognition at the XVI Traveling Exhibition. Compositionally, the picture is solved in an original way and is, as it were, a separate frame snatched from life: the car window, people behind bars, platform boards, birds. This creates the appearance of a randomly flashed scene and makes the picture believable and vital. Having served at the St. Petersburg Cartridge and Mine Plant for over twenty years, in July 1892 Yaroshenko was promoted to major general "for distinction in service" with enrollment in the reserve of foot field artillery in the St. Petersburg district. The following year, Nikolai Alexandrovich Yaroshenko retired and left for Kislovodsk; in the last years of his life, the artist suffered from severe throat consumption and was often ill.
Sister of Mercy, 1886, Ivanovo Art Museum 
On a swing in the village of Pavlishchevo on Spirits Day, 1888, Russian Museum
In the museum-estate of the artist "White Villa" in Kislovodsk, Yarosheko painted many portraits and created many genre works. In addition to the work "In the warm regions", Yaroshenko painted here the paintings "On the Swing", "Spent", "Peasant Girl" and others. But the best and most touching was the great genre painting "Chorus". By the end of his life, the artist was mainly engaged in landscape painting. One of the main themes in the work of Yaroshenko was the Caucasus. The artist traveled through the remote gorges of the Caucasus Range, made his way on foot through snowy passes and entered such wilds, to which at that time "not a single military officer had yet reached." Of the large landscapes, the work "Shat-mountain - Elbrus at dawn, illuminated by the rays of the rising sun" should be noted. The best paintings include the landscapes "Teberda Lake", "Elbrus in the Clouds" and "Red Stones" - a very small work, painted juicy, bold and colorful.
Girls with a letter, 1892, Buryat Art Museum, Ulan-Ude 
Enlightener Alexander Yakovlevich Gerd, 1888, museum-estate of the artist 
Peasant Girl, 1891, private collection
In the St. Petersburg apartment of the artist, the famous "Yaroshenko's Saturdays" took place, which became a kind of club for the progressive St. Petersburg intelligentsia. Famous writers have been here: Garshin, Uspensky, Korolenko, artists Repin, Polenov, Maksimov, artists Strepetova, scientists Mendeleev, Solovyov, Pavlov. The Yaroshenkos brought the same atmosphere to Kislovodsk, to a dacha they bought in 1885. Friends of the general gathered here, as well as a large society of famous artists, artists, scientists who were on vacation and treatment in the summer season. From the veranda of the artist's estate, painted in the Pompeian style, a piano sounded, on which composers Arensky, Taneyev and the young Rachmaninov performed their works. Artists often visited here - Stanislavsky, Savina and other figures of the Russian theater.
Elizaveta Platonovna Yaroshenko, Kaluga Art Museum 
Conducted, 1891, Omsk Museum of Fine Arts 
Student, 1881 Tretyakov Gallery
Of the numerous guest painters of the artist Yaroshenko in Kislovodsk, it is enough to name just a few: these are the artists M. V. Nesterov, N. A. Kasatkin, N. N. Dubovskoy, A. M. Vasnetsov, I. E. Repin, A. I. Kuindzhi, V. E. Borisov-Musatov. Large picnics were organized, trips to the Castle of deceit and love, to Saddle Hill, on the Bermamyt plateau. Longer trips were also undertaken: along the Georgian Military, Ossetian Military Highways, to Teberda, to the foot of Elbrus. And a large number of paintings, sketches, sketches were brought from everywhere. In 1897 Yaroshenko made a trip to Syria, Egypt and Italy, replenishing his collection with a large number of paintings, sketches, portraits and graphic works.
Philosopher Vladimir Sergeevich Solovyov, 1895, Tretyakov Gallery 
Scientist Nikolai Nikolaevich Obruchev, 1898, museum-estate 
"Portrait of the sculptor L. V. Posen", 1885 
Gypsy, 1886, Serpukhov Museum of History and Art
Nikolai Alexandrovich Yaroshenko died in 1898 in Kislovodsk. The artist was buried not far from the house, in the fence of St. Nicholas Cathedral. A year later, a monument was erected on his grave - a bronze bust of the artist on a black pedestal, against the background of a granite stele with a relief image of a cross, a palm branch and a palette with tassels.
The artists N. Dubovskoy and P. Bryullov took part in the development of the tombstone project. The author of the sculptural portrait is a friend of the artist L. V. Posen.
Sleptsy, 1879, Samara Art Museum 
An old man with a snuffbox, 1873, the museum-estate of the artist, Kislovodsk 
Peasant, 1874, Kharkov Art Museum
Contemporaries about Yaroshenko Nikolai Aleksandrovich
The Wanderers in 1885 N. Yaroshenko is standing third from the right in the military uniform of a captain
“In the motley hustle and bustle of life, fate rarely confronts us with such whole, complete and at the same time ... multifaceted natures, which was Yaroshenko. There is hardly any significant area of \u200b\u200blife or thought in which he was not interested to a greater or lesser extent, ”N.K. Mikhailovsky wrote in an article dedicated to the memory of Nikolai Alexandrovich.
This statement is supplemented by the words of N. N. Dubovsky: “He has a deep, huge mind, which he constantly develops and has achieved a comprehensive, great education.” The very circle of people with whom Yaroshenko was close, friendly or familiar is already characteristic.
It is enough to name just a few names, limiting ourselves to the statement of contemporaries that these were the most prominent people of that time - representatives of the advanced intelligentsia in various fields of science, literature, art, who are the pride of Russia, often captured by the artist's brush. These include, along with the Wanderers, associates of Nikolai Alexandrovich, writers M. E. Saltykov-Shchedrin, N. S. Leskov, poet A. N. Pleshcheev, publisher V. G. Chertkov, lawyer V. D. Spasovich, historian K. D. Kavelin, philosopher V. S. Solovyov, public figure A. M. Unkovsky, teacher A. Ya. Gerd, ethnographer M. M. Kovalevsky, composer S. I. Taneev, medical scientist N. P. Simanovsky, physiologist I P. Pavlov and others.
Elbrus in the clouds, 1894, Russian Museum 
Red Stones, 1892, memorial estate museum of the artist Yaroshenko, Kislovodsk 
Mount Sedlo in the vicinity of Kislovodsk, 1882, museum-estate 
It is impossible not to mention in this connection L. N. Tolstoy, who wrote in one of his letters: “We all love Yaroshenko and, of course, we would be very glad to see him” and D. I. Mendeleev, who exclaimed a considerable time after Nikolai Aleksandrovich was gone: “I would give a year of my life for Yaroshenko to sit here now and talk to him!”
“His high nobility, his straightforwardness and extraordinary stamina and faith in the cause he serves, were, I think, not only for me an “example,” admitted M. V. Nesterov, “and the consciousness that such a right person is among encouraged us to do what is right." “Being impeccable himself, he did, insisted, got excited, demanded that those people who serve the same cause with him should be at the same moral height, as unswerving in their duty as he himself was,” recalled M.V. Nesterov.
A significant place in the work of Yaroshenko is occupied by portraits; he wrote about a hundred of them. The artist was attracted by people of intellectual labor: progressive writers, scientists, artists, actors, the best representatives of our time, whom Yaroshenko considered writing as his public duty. A student of Kramskoy, he saw the task of a portrait painter primarily in understanding human psychology. The artist’s wife said about this: “He could not paint faces that did not represent any spiritual interest”
Portrait of an unknown. 1893 State Russian Museum 
Interesting Facts
The plot of the painting “At the Lithuanian Castle” (1881, not preserved) is connected with the attempt on the life of Vera Zasulich on the St. Petersburg mayor F. F. Trepov. This event was perceived as a protest against the terrible conditions of detention of political prisoners who were in the Lithuanian castle. The police authorities forbade the exhibition of this painting at the Traveling Exhibition, which opened on the day of the assassination of Alexander II on March 1, 1881. Yaroshenko was subjected to house arrest, and, moreover, the Minister of Internal Affairs, Loris-Melikov, came to him "for a conversation". The painting was never returned to the artist. Based on the surviving sketches and preparatory materials, he again painted The Terrorist. Now the picture is stored in the Kislovodsk Art Museum N. A. Yaroshenko.
A terrible blow for Yaroshenko was the actual collapse of the Partnership. Repin, Kuindzhi and others returned to the reformed Academy, citing the opportunity to teach realistic art to students there. “The walls are not to blame!” Repin justified himself. “It’s not about the walls,” objected Yaroshenko, “but about betraying the ideals of the Partnership!” In anger, Yaroshenko paints the painting "Judas" from a photograph of the once beloved A. I. Kuindzhi.
Addresses of residence of Yaroshenko Nikolai Aleksandrovich
In St. Petersburg
Summer 1874 - Kramskoy's dacha on Siverskaya;
1874-1879 - profitable house of A. I. and I. I. Kabatovs, Basseynaya street, 27;
1879 - spring 1898 - Schreiber apartment building, Sergievskaya street, 63.
But not only the Kislovodsk house of Yaroshenko was always full of guests, but also his St. Petersburg apartment on Sergievskaya Street. Mikhail Nesterov, who knew the artist's family well, recalled that he often had up to fifty "visitors". Some of them stayed for a long time, and then confusion reigned in the apartment, in which there was no way to work. However, according to relatives, Nikolai Alexandrovich was more amused than upset.
Memorial Museum-estate of the artist N. A. Yaroshenko, Kislovodsk. The unofficial short name is "White Villa".
According to the memoirs of M. V. Fofanova, V. I. Lenin highly valued the paintings of Yaroshenko. By order of Vladimir Ulyanov, already in 1918 in Kislovodsk, where Yaroshenko lived and worked for the last ten years of his life, a museum named after him was founded and the memory of the artist was commemorated. But soon Kislovodsk was temporarily captured by the White Guards, the museum was liquidated, and many exhibits were plundered.
In December 1918, the street adjacent to the estate, previously called Dondukovskaya, received the name of Yaroshenko. It was decided to open a museum in Yaroshenko's house. The text of the poster pasted in those days in Kislovodsk has been preserved: “On Sunday, December 8, p. city, department of public education ... arranges a national holiday-celebration of the memory of the famous citizen of Kislovodsk Nikolai Alexandrovich Yaroshenko and the foundation of a museum named after him in the house where he lived and died.
On March 11, 1962, the Kislovodsk Art Museum of N. A. Yaroshenko opened its doors to the first visitors. A memorial plaque with a bas-relief of Yaroshenko is fixed on the facade of the house. Opening the gate from the street, art lovers find themselves on the veranda of the White Villa. The last years of the artist's life (1885-1898) passed here. After the restoration work, visitors were able to see the houses and the garden as their guests and friends of Yaroshenko knew. Rachmaninov played in the house on Yaroshenko's "Saturdays", Chaliapin's mighty bass, Sobinov's bright and radiant tenor sounded, there were like-minded friends artists Repin, Nesterov, Dubovskoy, Kasatkin, Kuindzhi, artists Stanislavsky, Zbrueva, writer Uspensky, scientists Mendeleev, Pavlov.
Yaroshenko Museum Photo chronicle
On March 11, 1962, the house-museum of N. A. Yaroshenko was opened in the "White Villa" in Kislovodsk through the efforts of the artist Vladimir Seklyutsky. This unique museum in the south of Russia is comparable in its historical and cultural significance to Tolstoy's Yasnaya Polyana and Repin's Penates. The museum owns the entire territory of the estate, the museum staff, citizens and "sponsors" have restored the buildings, assembled an extensive collection. 108 items of painting and graphics by Yaroshenko, 170 works of Wanderers are stored here. Up to 20,000 people visit the museum every year.
The museum contains documents related to the life and work of the Russian itinerant artist N. A. Yaroshenko (1846-1898). Among his creative works are sketches and drawings. There is a track record of Major General N. A. Yaroshenko, documents for the ownership of the Kislovodsk estate of N. A. Yaroshenko, about the adoption by the family of the artist N. G. Volzhinskaya, an auction catalog of the property of the artist’s widow M. P. Yaroshenko. Among the receipts of recent years are the memoirs of V. G. Nemsadze about the preservation of the grave of N. A. Yaroshenko in Kislovodsk during the destruction of the Cathedral of St. Nicholas the Wonderworker and the cathedral cemetery in 1936.
The museum stores graphic works by Russian artists A. I. Kuindzhi, I. N. Kramskoy, V. E. Makovsky, G. G. Myasoedov, V. G. Perov, I. E. Repin.
Among the photographic documents are photographic portraits of the artist, photographs of the Simanovsky family, which depicted N. A. Yaroshenko, episodes of the funeral of N. A. Yaroshenko, group and family photographs of the Wanderers, including N. A. Kasatkin and M. V. Nesterov.
in the Kaluga province
The estate of the wife of the brother of Vasily Alexandrovich, Elizaveta Platonovna (nee Stepanova) Pavlishchev Bor, where many paintings were painted. 10 works are stored in the Kaluga Regional Art Museum: these are portraits of loved ones, and the famous "Portrait of a Lady with a Cat" and "A Student Student", and a portrait of an old woman - Yaroshenko's nanny. It is taken from Stepanovsky and written from the teacher Dokukina, who worked at the Pavlishchevsky school. The painting by N. A. Yaroshenko “On the Swing” (1888) depicts the scene of the favorite folk entertainment - on Spirits Day in the neighboring village of Pavlishchevo.
In Poltava (now Ukraine):
The collection of the Poltava Art Museum is based on the collection of the itinerant artist N. A. Yaroshenko, donated to his native city, which arrived in Poltava in 1917. It included 100 paintings and 23 working albums of the artist himself, as well as a significant number of works by friends and colleagues from the Association of Traveling Art Exhibitions.
Portrait of N.A. Yaroshenko by M. V. Nesterov
http://smallbay.ru/artrussia/yaroshenko.html
“In the motley hustle and bustle of life, fate rarely confronts us with such whole, complete and at the same time multifaceted natures as Yaroshenko was. There is hardly any significant area of \u200b\u200blife or thought in which he was not interested to a greater or lesser extent, ”wrote the publicist, populist theorist N.K. Mikhailovsky in an article dedicated to the memory of this outstanding Russian artist.
Nikolai Alexandrovich Yaroshenko. self-portrait
Nikolai Alexandrovich Yaroshenko was not just one of the "Wanderers" - his fellow creative association called him "the guardian of the best traditions of the Partnership, as if his conscience." And when you look at his paintings, it is easy to believe that he was a man of high moral ideals. More than once the artist surprised colleagues, critics and the public with humanity, deep compassion that filled his paintings. The public has repeatedly wondered where the brilliant military man has so much compassion for the grief of people, it would seem, from another life. “You know, for the “Prisoner in the Cell” alone, I am already ready to hug and kiss him, for his kind, sensitive, attentive heart, for his soul and for the talent to evoke kindness and sympathy for our neighbor in us ... ”- the critic admitted N Evtikheev.
N. Yaroshenko. A prisoner. 1878
Nikolai Yaroshenko was born in Little Russia, in Poltava on December 1 (13), 1846 in the family of a major general. At the age of nine, the future artist was sent to the Poltava Cadet Corps.
In 1863, the young man moved to St. Petersburg and entered the Pavlovsk Military School, and then the Mikhailovsky Artillery Academy, which he graduated in 1870. In parallel, Yaroshenko was engaged in painting, attended the Academy of Arts as a volunteer, studied with Ivan Kramskoy. It is known that it was Kramskoy who far-sightedly and wisely advised Yaroshenko not to leave military service, since, having left it, he would have been forced to write to order in order to feed himself: “It would be better if you continue military affairs, and you will write pictures for the soul. Combining this in time, of course, will not be easy. But you can just do it." Yaroshenko followed the advice of his senior comrade. Until his retirement with the rank of major general, he worked at an arms factory and did not write a single painting to order.
A significant place in the work of Yaroshenko is occupied by portraits; he wrote about a hundred of them. The artist's wife said: "He could not paint faces that did not represent any spiritual interest." His models have always been people who are internally close to him - artists I. N. Kramskoy, V. M. Maksimov, I. K. Zaitsev, N. N. Ge, writers G. I. Uspensky, M. E. Saltykov-Shchedrin, A. N. Pleshcheev, V. G. Korolenko and others.
N. Yaroshenko. Portrait of the artist N. N. Ge. 1890
One of the most striking works of Yaroshenko in the portrait genre is "Portrait of the actress P. A. Strepetova" (1884):
N. Yaroshenko. Portrait of the actress Pelageya Antipievna Strepetova 1884
Yaroshenko married in 1874, and in the same year he and his wife went to Kislovodsk for the first time. The couple were so fascinated by the Caucasus that later, in 1885, they bought a dacha there. Every year, the Yaroshenko family spent four months in Kislovodsk - Nikolai Aleksandrovich's vacation. When the artist retired in 1892, the Yaroshenko couple moved there permanently. Their dacha, which became known as the "White Villa", gathered a huge number of guests.
"White Villa" N. Yaroshenko in Kislovodsk
They came and went, eminent and unknown, and the house was always crowded and cheerful. They say that Yaroshenko's wife, a kind and homely hostess, received up to fifty guests in the house, among whom were the artists Repin, Nesterov, Kuindzhi, Vasnetsov, the opera singer Chaliapin, and the composer Rachmaninov. By the way, there is a version that it is Maria Pavlovna Yaroshenko who is depicted in Kramskoy's famous painting "Portrait of an Unknown Woman".
Famous Yaroshenko made the painting "Stoker", written by him in 1878. Yaroshenko depicts not so much a representative of the working class, a new social force, etc., as a living person.
N. Yaroshenko. Fireman. 1878
By this time, noticeable changes had taken place in the life of Nikolai Alexandrovich. Firstly, he spends most of his time in Kislovodsk, trying to cure progressive tuberculosis. In April 1887, his teacher and senior comrade Ivan Nikolaevich Kramskoy, the ideological leader of the Association of Traveling Exhibitions, died, and Yaroshenko became the head of the association.
Yaroshenko and his family rented a small apartment in St. Petersburg on Sergievskaya Street, on the fifth floor of the house, at the bottom of which the Chinese embassy was located. This apartment became the temporary "headquarters" of traveling exhibitions. Mikhail Nesterov, who knew the artist's family well, recalled that not only in Kislovodsk, but also in St. Petersburg, Yaroshenko often had a huge number of guests, some of whom stayed for a long time, and then confusion reigned in the apartment, which made it impossible to work. The very circle of people with whom Yaroshenko was close, friendly or familiar is already characteristic. These include, along with the Wanderers, associates of Nikolai Aleksandrovich, writers M. E. Saltykov-Shchedrin, N. S. Leskov, poet A. N. Pleshcheev, publisher V. G. Chertkov, historian K. D. Kavelin, philosopher V. S. Solovyov, composer S. I. Taneev, medical scientist N. P. Simanovsky, physiologist I. P. Pavlov and others. “Someone is not here! - wrote M. V. Nesterov about the atmosphere prevailing in Yaroshenko's apartment, - the whole cultural Petersburg is here. Here are Mendeleev, and Petrushevsky, and several other prominent professors of the liberal camp. About 12 o'clock they invite you to dinner. How such a mass of guests can fit in this small dining room - this is known only to our hospitable lovely hosts - Nikolai Alexandrovich and Maria Pavlovna. Cramped, but somehow seated. At dinners at Yaroshenko's, they ate deliciously, but drank little. They spoke passionately, interestingly. At these meetings they did not know what boredom, screw, booze - Nikolai Alexandrovich, sometimes serious, sometimes witty, was the soul of society. I remember there were great disputes, sometimes they dragged on long after midnight, and we usually dispersed late, in a crowd, satisfied with the time spent.
It is known that the famous scientist D. I. Mendeleev, after the death of the artist, exclaimed: “I would give a year of my life for Yaroshenko to sit here now and talk to him!” The history of the work “A female student (1883) is interesting. The girl who served as a model for the picture was called Anna Konstantinovna Diterikhs (marriedly, Chertkova). With her husband Vladimir Chertkov, publisher and editor of Leo Tolstoy's works, she often visited Yaroshenko in Kislovodsk. Like the artist, Anna suffered from tuberculosis.
There is also a later portrait of her by Yaroshenko - “In the warm regions”, the work was written in 1890 in Kislovodsk, now it is stored in St. Petersburg, in the Russian Museum.
N. Yaroshenko. In warm regions. 1890
Even greater fame was brought to the artist by the painting “Life Everywhere”. Few people know that Yaroshenko originally gave this work the title "Where there is love, there is God." This is the name of the story of Leo Tolstoy, which, obviously, became a source of inspiration for the artist. The plot of Tolstoy's story is that the shoemaker Semyon, unknowingly, sheltered an angel and realized with him that “it only seems to people that they are alive by taking care of themselves, but they are alive by love alone. Whoever is in love is in God and God is in him, because God is love. And Avdeich's soul became joyful, he crossed himself, put on his glasses and began to read the Gospel, where it was opened. And at the top of the page he read: And I was hungry, and you gave Me food; I was thirsty, and you gave me drink; I was a stranger, and you received me... lesser ones, they made me. And Avdeich realized that his dream had not deceived him, that, exactly, his Savior had come to him that day, and that, exactly, he had received Him.
The painting depicts a prison wagon, through the window of which prisoners of a surprisingly meek appearance look out. A child feeds pigeons with bread crumbs. “Behind the bars in the window you will see the Madonna, thin and pale, holding the baby Savior on her knees with her hand outstretched for blessing and the figure of Joseph towering behind. But how did this holy family get behind bars? - wrote critic-reviewer P. Kovalevsky. And Leo Tolstoy himself made an entry in his diary: “I went to Tretyakov. A good picture of Yaroshenko "Doves". Have you seen how the prisoners look from behind the bars of the prison car at the pigeons? What a wonderful thing! And how it speaks to your heart! In my opinion, the best painting that I know is still the painting by the artist Yaroshenko "Life Everywhere". Today the canvas is stored in the State Tretyakov Gallery.
N. Yaroshenko. Everywhere life. 1888
“His high nobility, his straightforwardness and extraordinary steadfastness and faith in the cause he serves, were, I think, not only for me an“ example ”, and the consciousness that such a right person exists among us encouraged a just cause. Being himself impeccable, he did, insisted, got excited, demanded that those people who serve the same cause with him be at the same moral height, as unswerving in their duty as he himself was, ”recalled M. V. Nesterov.
In 1892, having retired, having risen, like his father, to the rank of Major General, Nikolai Alexandrovich began to visit Kislovodsk longer. Here he took an active part in the construction of the church in the name of St. Nicholas. The artist not only personally painted the temple, but also attracted the famous brothers Victor and Apollinary Vasnetsov, Nesterov and other famous Russian artists to this.
St. Nicholas Church in Kislovodsk
In the last years of his life, despite a serious illness, Yaroshenko traveled a lot in Russia and abroad: he was on the Volga, traveled to Italy, Syria, Palestine, Egypt. Nikolai Alexandrovich also visited the Holy Land, about which he wrote: “Here everything is so easy, against your will, it takes you into the depths of time. You will stumble unexpectedly on a living Abraham or Moses, then you will be transported to the time of Christ. On June 25 (July 7), 1898, while at work in front of the canvas, the artist died of cardiac arrest. Yaroshenko was buried near the "White Villa", not far from the Cathedral of St. Nicholas the Wonderworker. In 1938, after forty years, the new authorities of the city decided to blow up the Church of St. Nicholas the Wonderworker. Dynamite destroyed not only the walls, but also destroyed the cemetery. Only one grave survived - the artist Yaroshenko.
Grave of N. Yaroshenko in Kislovodsk
In December 1918, in Kislovodsk, where Yaroshenko lived and worked for the last ten years of his life, a museum named after him was founded. The street adjacent to the estate, previously called Dondukovskaya, also received the name Yaroshenko. The text of the poster pasted in those days in Kislovodsk has been preserved: “On Sunday, December 8, p. city, department of public education ... arranges a national holiday - honoring the memory of the famous citizen of Kislovodsk Nikolai Aleksandrovich Yaroshenko and founding a museum named after him in the house where he lived and died.
N. Yaroshenko. Wildflowers. 1889
They also remember in their small homeland, in Poltava, their famous countryman. The art museum in the city bears the name of a remarkable artist.
Poltava. Art Museum named after Nikolay Yaroshenko
Yaroshenko, Mykola Oleksandrovich (1846-1898) - Russian painter. Born near Poltava in sіm "ї military service [yogo father - Yaroshenko Oleksandr Mikhailovich - used to be a police chief in the PPKK]. After graduating from the Poltava Cadet Corps [having opened a degree in the PPKK, but also transferring to the First Cadet Corps at Peterburz - T.B. ], then the Mikhailovsky Artillery Academy in St. Petersburg. Having won the basics of artistic literacy at the Cadet Corps, de 1855-1857 pp. having studied with the artist I. K. Zaitseva. In 1867-1874 pp. buv lnim hearing Petersburg AM, from 1876 p. - Member of the Association of the Wanderers. Repeatedly buvav near Poltava, zokrema, near 1865 and 1876 rr. He died and was buried at the Kislovodsk metro station. For example, in 1917, as a result of the order of the widow of the artist Mariya Pavlivnya, the bula was brought from Petrograd and handed over to Poltava, the mystetsky collection of Yaroshenko: over 100 works of malaria and 21 albums of little ones (were saved on average 58 and 19), as well as Oh, there were few works of the Wanderers. The stinkers created the basis of the Poltava Art Gallery, and then - the Poltava Art Museum, on the facade of which a memorial plaque was erected to Yaroshenko M.O. Im "pit M.O. Yaroshenko named the street.
Source:
Poltava region: Encyclopedic dovidnik (Edited by A.V. Kudrytsky. - K .: UE, 1992). Store 1002
Source:
In the lists of generals by seniority for 1890-1892. does not appear, from which we can conclude that the rank of Major General N. A. Yaroshenko received when he retired in 1892.
FAMILY:
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Yaroshenko, Mykola Oleksandrovich (12/13/1846, Poltava - 06/25/07/7/1898, Kislovodsk) - painter and draftsman, typical representative of "ideological realism"; major general. Born in Poltava in the homeland of a career officer. Graduated from the Petrovsky Poltava Cadet Corps, the First Cadet Corps near St. Petersburg, Pavlovsk and Mikhailov Artillery Schools, Mikhail Artillery Academy (1870 p.) One hour at 1867-1874. celebrating the evening classes of the Academy of Art and Drawing School of the Association of Interested Artists. After the release of a stretch of 25 years, he worked at the Petersburg Arsenal (Cartridge Factory), sticking his service drabin to the general. Zakohany at his military profession, M. Yaroshenko still knows the right call in the arts. Svetoglyad mitzia was molded in a strained, supple atmosphere of the 70s. XIX Art. The revolutionary-democratic stake of the intelligentsia, having come close to each other, strove for the art of fermentation and criticism of the ghostly manifestations. In 1875 p. M. Yaroshenko made his debut at the 4th transitional exhibition of the Wanderers, and on the verge of acceptance as a member of the Association and immediately appealed to the board. Z 1887 p. M. Yaroshenko, becoming an ideological curator of the Partnership. The students called yoga "the soviet of Russian artists". The gromadian artist brought from the art of the Wanderers, especially a number of plot images. The first middle of the arts painters instilled the image of a robot worker, the first one painted the image of student youth. Especially yoga was adopted by people who appeared in revolutionary spirit. yv_domish_ create: "Stoker" (1878 p.), "In "ash" (1878 p.), "Student" (1881 p.), "Cursist" (1883 p.), "Skrіz zhittya" (1888 p.); portraits of P. Strepetova, D. Mendelev, M. Saltikov-Shchedrin, G. Uspensky, V. Korolenko, O. Pleshcheev, M. Ge; landscapes. He created paintings on the Ukrainian theme: "Girl with a horned man" (1864), "Sleepy Kalikas near Kiev" (1879), "Zhebraki in the Kiev-Pechersk Lavra" (1879-1880 pp.). For example, 1880s. rozladna healthy "I was embarrassed M. Yaroshenko to move to the Caucasus. Zgіdno іz zapovіtom widow In 1917, the artist’s collection was handed over to Poltava, up to which there were over 100 paintings and sketches by M. Yaroshenko, 23 albums with yoga little ones, as well as a few works of other artists-itinerants. and like a quarter 1919 p. bulo opened the Poltava art gallery. Sources: Bilousko O. A., Miroshnichenko V. I. New history of Poltava region. The end of the XVIII - the beginning of the XX century. Store 254 Nikolai Alexandrovich Yaroshenko 1) . On June 26, at 9 am, the famous artist N. A. Yaroshenko died suddenly in Kislovodsk. Deceased family. in 1846 and began his independent artistic activity in the 1870s, which include almost all of his best works. Although the specialty of N. A. Yaroshenko was mainly portraits and genre, at the same time he was an excellent landscape painter. His works of this kind bear the imprint of a peculiar talent, spontaneity and strength. The portraits belonging to the brush of the deceased, by their expressive truthfulness and similarity, distinguish him among the best Russian portrait painters. Everyday subjects that N. A. Yaroshenko served for his paintings are extremely peculiar, but one cannot say that they are attractive. In pursuit of content, he often sacrificed the most important thing in art - beauty; the plots for him very often served as "motives of civil sorrow", and the appearance of his paintings at the usual annual exhibitions of the "partnership" constantly caused quite a few rumors, both in criticism and among the audience. Of his most famous paintings, we will name: "Stoker" (property of P. M. Tretyakov), "Prisoner" (Property of P. M. Tretyakov), "Old and Young", "Nevsky Prospekt at Night", "Blind Men". "Student student", "Reasons unknown", etude "Sister of Mercy", "Life Everywhere", "On the Swing", etc. In landscape painting, the deceased owns a number of paintings and etudes of Caucasian nature. These, by the way, are in the Moscow gallery of P. and S. Tretyakov: "Birch beam", "Klukhorsky pass", "In Svaneti", "Sudak Bay", "Gunib" and others. Of the portraits of his work, the best are recognized: P A. Srepetova, A. M. Unkovsky, G. I. Uspensky, D. I. Mendeleev, A. N. Pleshcheev, V. D. Spasovich, K. D. Kavelin and others. N. A. Yaroshenko passionately loved art and devoted all his free time to it. In recent years, suffering from consumption, N.A. lived permanently in the Caucasus, in Kislovodsk, where he died. ("New Time" No. 8020; "Mosk. Ved.", No. 175). Sources: A. D. Romashkevich. Materials for the history of the Petrovsky Poltava Cadet Corps from October 1, 1907 to October 1, 1908. The fifth year. Poltava. 1908. P. 95-96 gallery i
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December 1 (13), 1846 (1846-12-13)
Poltava, Russian Empire
Kislovodsk, Pyatigorsk department, Terek region, Russian Empire
Russian Empire Russian Empire
painting
Nikolai Alexandrovich Yaroshenko(December 1, 1846, Poltava - June 26, 1898, Kislovodsk) - Russian painter and portrait painter.
- 1 Biography
- 2 Creative activity
- 3 Public recognition
- 4 Gallery
- 5 Interesting Facts
- 6 Family
- 7 Addresses
- 8 Notes
- 9 Literature
- 10 Links
Biography
Military by education and service. In 1863 he graduated from the Poltava Cadet Corps. Joining in 1878 as a member of the Association of Traveling Art Exhibitions, exhibited with his works constantly and exclusively at these exhibitions. The content of his genre paintings were mainly "motives of civil sorrow".
The grave of N. A. Yaroshenko in the fence of St. Nicholas Cathedral, Kislovodsk
In 1885, Yaroshenko bought a house in Kislovodsk, the so-called "White Villa", where he lived and worked until his death.
In 1892, the master retired (having risen, like his father, to the rank of major general, 1892).
In the last years of his life, despite a serious illness, Yaroshenko traveled a lot in Russia and abroad: he was on the Volga, traveled to Italy, Syria, Palestine, Egypt.
Died June 26 (July 7), 1898. He was buried near the "White Villa", not far from the Cathedral of St. Nicholas the Wonderworker.
Creative activity
“In the motley hustle and bustle of life, fate rarely confronts us with such whole, complete and at the same time ... multifaceted natures, which was Yaroshenko. There is hardly any significant area of \u200b\u200blife or thought in which he was not interested to a greater or lesser extent, ”N.K. Mikhailovsky wrote in an article dedicated to the memory of Nikolai Alexandrovich. This statement is supplemented by the words of N. N. Dubovsky: “He has a deep, huge mind, which he constantly develops and has achieved a comprehensive, great education.” The very circle of people with whom Yaroshenko was close, friendly or familiar is already characteristic. It is enough to name just a few names, limiting ourselves to the statement of contemporaries that these were the most outstanding people of that time - representatives of the advanced intelligentsia in various fields of science, literature, art, who are the pride of Russia, often captured by the artist's brush. These include, along with the Wanderers, associates of Nikolai Alexandrovich, writers M. E. Saltykov-Shchedrin, N. S. Leskov, poet A. N. Pleshcheev, publisher V. G. Chertkov, lawyer V. D. Spasovich, historian K. D. Kavelin, philosopher V. S. Solovyov, public figure A. M. Unkovsky, teacher A. Ya. Gerd, ethnographer M. M. Kovalevsky, composer S. I. Taneev, medical scientist N. P. Simanovsky, physiologist I P. Pavlov and others. It is impossible not to mention in this connection L. N. Tolstoy, who wrote in one of his letters: “We all love Yaroshenko and, of course, we would be very glad to see him” and D. I. Mendeleev, who exclaimed a considerable time after Nikolai Aleksandrovich was gone: “I would give a year of my life for Yaroshenko to sit here now and talk to him!”
“A big man”, “outstanding”, “noble”, “most honest”, “artist-thinker”, “brilliant interlocutor”, “artist-intellectual” - this is how Nikolai Alexandrovich Yaroshenko is portrayed by those who happened to know him personally.
“His high nobility, his straightforwardness and extraordinary stamina and faith in the cause he serves, were, I think, not only for me an “example,” admitted M. V. Nesterov, “and the consciousness that such a right person is among encouraged us to do what is right." “Being impeccable himself, he did, insisted, got excited, demanded that those people who serve the same cause with him be at the same moral height, as unswerving in their duty as he himself was,” recalled M.V. Nesterov.
A significant place in the work of Yaroshenko is occupied by portraits; he wrote about a hundred of them. The artist was attracted by people of intellectual labor: progressive writers, scientists, artists, actors, the best representatives of our time, whom Yaroshenko considered writing as his public duty. A student of Kramskoy, he saw the task of a portrait painter primarily in understanding human psychology. The artist's wife said about this: "He could not paint faces that did not represent any spiritual interest."
The most famous creations of N. A. Yaroshenko are “Stoker”, “Prisoner”, “Life is Everywhere”, “Student”, “Sister of Mercy” (all five in the Tretyakov Gallery in Moscow), “Cursist”, “Old and Young”, "Reasons unknown", "Nevsky Prospekt at night", "Shat Mountain" and "Forgotten Temple". The works of N. A. Yaroshenko in the portrait type testify to his ability to convey not only the external features, but also the character of the persons depicted, but they do not differ in special mastery of technical execution. The best of these works are portraits of P. A. Strepetova (in the Tretyakov Gallery), D. I. Mendeleev (watercolor, ibid.), V. S. Solovyov, A. M. Unkovsky, V. D. Spasovich, G. I. Uspensky, A. N. Pleshcheev and K. D. Kavelin. In addition to genres and portraits, N. A. Yaroshenko also painted landscapes, reproducing very well in them mainly corners of Caucasian nature. Among these works of his - a number of paintings and sketches, located in the Tretyakov Gallery.
It is known that Nikolai Aleksandrovich was a great zealot of exhibitions of paintings by the Wanderers in the provinces. Exhibitions became major social events. The 15th exhibition of the Wanderers traveled to 14 cities. The exhibitions that took place after the death of Yaroshenko, when his friend Dubovskoy became the head of the Partnership, were also received with enthusiasm. On January 28, 1899, the XXIV exhibition of the Association of Traveling Art Exhibitions was held in Smolensk, in the halls of the Assembly of the Nobility. M. K. Tenisheva took part in its organization under the influence of I. E. Repin. The exhibition featured 180 paintings by realist artists: A. M. Vasnetsov, N. A. Kasatkin, I. I. Levitan, V. E. Makovsky, V. D. Polenov, I. E. Repin, I. I. Shishkin and others, including N. P. Bogdanov-Belsky, a native of the Smolensk region. The exhibition closed on February 3rd. For a week, thousands of Smolensk people visited it. And on February 12, the exhibition opened in the Hall of the Noble Assembly of Kaluga. The painting by N. A. Yaroshenko "The Crater of Vesuvius", presented then, is now kept in the funds of the Kaluga Regional Art Museum.
Public acceptance
Honorary citizen of the city of Kislovodsk.
Gallery
- "Stoker" (1878)
- "Prisoner" (1878)
- "Sunset" (1880s)
- "Cursist" (1880)
- "Student" (1881)
- "Terrorist" (1881)
- "Shat Mountain (Elbrus)" (1884)
- "Portrait of P. A. Strepetova" (1884)
- "Portrait of the sculptor L. V. Posen" (1885)
- "Gypsy" (1886)
- "On a swing in the village of Pavlishchevo on Spirits Day" (1888)
- "Life Everywhere" (1888)
- "Portrait of a scientist
A. Ya. Gerda "(1888) - "Portrait of the artist Nikolai Nikolaevich Ge" (1890)
- "In a warm land" (1890)
- "Funeral of the Firstborn" (1893)
- "Elbrus in the clouds" (1894)
- "Vladimir Solovyov" (1895)
- "Portrait of Nikolai Nikolaevich Obruchev" (1898)
- The plot of the painting “At the Lithuanian Castle” (1881, not preserved) is connected with the attempt on the life of Vera Zasulich on the St. Petersburg mayor F. F. Trepov. This event was perceived as a protest against the terrible conditions of detention of political prisoners who were in the Lithuanian castle. The police authorities forbade exhibiting this painting at the Traveling Exhibition, which opened on the day of the assassination of Alexander II. Yaroshenko was subjected to house arrest, and, moreover, the Minister of Internal Affairs, Loris-Melikov, came to him "for a conversation". The painting was never returned to the artist. Based on the surviving sketches and preparatory materials, he again painted The Terrorist. Currently, the painting is stored in the Kislovodsk Art Museum N. A. Yaroshenko.
- A terrible blow for Yaroshenko was the actual collapse of the Partnership. Repin, Kuindzhi and others returned to the reformed Academy, citing the opportunity to teach realistic art to students there. “The walls are not to blame!” - justified Repin. “It's not about the walls,” Yaroshenko objected to him, “but about betraying the ideals of the Partnership!” In anger, Yaroshenko paints the picture “Judas,” writes from a photograph of A. I. Kuindzhi, who was once dearly beloved by him.
Family
Yaroshenko Nikolai "Portrait of M.P. Yaroshenko, the artist's wife" 1880s Oil on canvas 44x36 Memorial Museum-estate of N.A. Yaroshenko, KislovodskFather - Alexander Mikhailovich Yaroshenko, Major General
Mother - Lyubov Vasilievna (nee Mishchenko) (1822-1890)
Brother - Vasily Alexandrovich, engineer, chemist, was married to Elizaveta Platonovna (née Stepanova, Schlitter in her first marriage)
Sister - Sofya Alexandrovna, mother of Boris Savinkov.
Wife (since 1874) - Maria Pavlovna Nevrotina (- September 14, 1915) (there is a version that Kramskoy wrote Unknown from her, at that time she was the bride of N. A. Nekrasov).
Addresses
Portrait of Elizabeth Platonovna Yaroshenko (wife of Vasily Yaroshenko). Artist Yaroshenko Nikolai Aleksandrovichin St. Petersburg
- summer 1874 - Kramskoy's dacha on Siverskaya
- 1874-1879 - profitable house of A. I. and I. I. Kabatov - Basseynaya street, 27;
- 1879 - spring 1898 - Schreiber apartment building - Sergievskaya street, 63.
But not only the Kislovodsk house of Yaroshenko was always full of guests, but also his St. Petersburg apartment on Sergievskaya Street. Mikhail Nesterov, who knew the artist's family well, recalled that he often had up to fifty "visitors". Some of them stayed for a long time, and then confusion reigned in the apartment, in which there was no way to work. However, according to relatives, Nikolai Alexandrovich was more amused than upset.
According to the memoirs of M. V. Fofanova, V. I. Lenin highly appreciated the paintings of Yaroshenko. By order of Vladimir Ulyanov, already in 1918 in Kislovodsk, where Yaroshenko lived and worked for the last ten years of his life, a museum named after him was founded and the memory of the artist was commemorated. But soon Kislovodsk was temporarily captured by the White Guards, the museum was liquidated, and many exhibits were plundered.
In December 1918, the street adjacent to the estate, previously called Dondukovskaya, received the name of Yaroshenko. Yaroshenko's house, it was decided to open a museum. The text of the poster pasted in those days in Kislovodsk has been preserved: “On Sunday, December 8, p. city, department of public education ... arranges a national holiday-celebration of the memory of the famous citizen of Kislovodsk Nikolai Alexandrovich Yaroshenko and the foundation of a museum named after him in the house where he lived and died.
On March 11, 1962, the Kislovodsk Art Museum of N. A. Yaroshenko opened its doors to the first visitors. A memorial plaque with a bas-relief of Yaroshenko is fixed on the facade of the house. Opening the gate from the street, art lovers find themselves on the veranda of the White Villa. The last years of the artist's life (1885-1898) passed here. After the restoration work, visitors were able to see the houses and the garden as their guests and friends of Yaroshenko knew. At home, Rachmaninov played on Yaroshenko's "Saturdays", Chaliapin's mighty bass, Sobinov's bright and radiant tenor sounded, there were like-minded friends artists Repin, Nesterov, Dubovskoy, Kasatkin, Kuindzhi, artists Stanislavsky, Zbrueva, writer Uspensky, scientists Mendeleev, Pavlov.
The museum contains documents related to the life and work of the Russian artist N. A. Yaroshenko (1846-1898). Among his creative works are sketches and drawings. There is a track record of Major General N. A. Yaroshenko, documents for the ownership of the Kislovodsk estate of N. A. Yaroshenko, about the adoption by the family of the artist N. G. Volzhinskaya, an auction catalog of the property of the artist’s widow M. P. Yaroshenko. among the receipts of recent years are the memoirs of V. G. Nemsadze on the preservation of the grave of N. A. Yaroshenko in Kislovodsk during the destruction of the Cathedral of St. Nicholas the Wonderworker and the cathedral cemetery in 1936.
The museum stores graphic works by Russian artists A. I. Kuindzhi, I. N. Kramskoy, V. E. Makovsky, G. G. Myasoedov, V. G. Perov, I. E. Repin.
Among the photographic documents are photographic portraits of the artist, photographs of the Simanovsky family, which depict N. A. Yaroshenko, episodes of the funeral of N. A. Yaroshenko, group and family photographs of the Wanderers, including N. A. Kasatkin and M. V. Nesterov.
in the Kaluga province
estate of the wife of Vasily Alexandrovich's brother Elizaveta Platonovna (née Stepanova) Pavlishchev Bor where many paintings were painted. 10 works are kept in the Kaluga Regional Art Museum: these are portraits of relatives, the famous "Portrait of a Lady with a Cat" and "A Student Student", and a portrait of an old woman - nanny Yaroshenko. It is taken from Stepanovsky and written from the teacher Dokukina, who worked at the Pavlishchevsky school. The painting by N. A. Yaroshenko “On the Swing” (1888) depicts the scene of the favorite folk entertainment - on Spirits Day in the neighboring village of Pavlishchevo.
Notes
- 1 2 3 Yaroshenko N. A. through the eyes of contemporaries. Archived from the original on November 29, 2012.
- Biography of Yaroshenko. Archived from the original on November 29, 2012.
- Leonid Stepchenkov. Stone witness of epochs // Smolenskaya gazeta, October, 2012.
- Kaluga painting of the first half of the 20th century
- Calendar of public holidays of the Russian Federation, memorable dates and significant events of the Stavropol Territory for 2011. Retrieved January 17, 2015. Archived from the original on January 17, 2015.
- 1 2 V. Kevorkov. Relentless Yaroshenko. Essay
- Biography of N. A. Yaroshenko. Archived from the original on November 29, 2012.
- Unfamiliar Kislovodsk. N. A. Yaroshenko. Archived from the original on November 29, 2012.
- 1 2 "WHITE VILLA". Museum-estate of the artist Yaroshenko // Biography
- Stavropol region. KISLOVODSK MEMORIAL MUSEUM-ESTATE OF THE ARTIST N. A. YAROSHENKO. Archival documents in libraries and museums of the Russian Federation. Archived from the original on November 29, 2012.
- History of the Kaluga Regional Art Museum. Archived from the original on November 29, 2012.
- Valentin Smirnov. local history tourism
- N. A. Yaroshenko. On the swing. 1888
Literature
- Fedoseenko L. "Terrorist" // Philately of the USSR. - No. 11. - 1974. - S. 30.
- Prytkov V. A. N. A. Yaroshenko. M., 1960.
- Association of Traveling Art Exhibitions. Letters, documents. 1869-1899. 2 vols. - M.: Art, 1987.
- Trusova Natalya Nikolaevna (nee Kupchinskaya) (1884-1969). Memories. - book: Seklyutsky V.V. Nikolai Alexandrovich Yaroshenko. Stavropol, 1963, p. 103-105. - art. "Meeting with Yaroshenko's niece."
- Vereshchagin A. G. Nikolai Alexandrovich Yaroshenko. - L.: Artist of the RSFSR, 1967. - 56 p. - (People's Art Library). - 20,000 copies. (reg.)
Links
- The life and work of Nikolai Yaroshenko. Archived from the original on November 29, 2012.
- Yaroshenko, Nikolai Alexandrovich // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg, 1890-1907.
- IN AND. Porudominsky. "Yaroshenko". Archived from the original on November 29, 2012.
- Yaroshenko Nikolai Alexandrovich: biography, 99 paintings by the artist. Archived from the original on November 29, 2012.
- Kislovodsk museum-estate of the artist N.A. Yaroshenko. Archived from the original on February 11, 2013.
- Julia Piontkovskaya, Natalia Pestova. Reflection of coastal Italy // "Kaluga Provincial Vedomosti" (supplement to the newspaper "Vest") No. 2 (60), 02/14/2008
- Aliyev, Kazi-Mohammed. Artist N. A. Yaroshenko in Karachai
- Creativity of Nikolai Yaroshenko on the portal vsdn.ru
| Members of the Association (1870-1923) | ||
|---|---|---|
| Ammon V. F. Ammosov S. N. Andreev N. A. Arkhipov A. E. Afanasiev A. F. Baksheev V. N. Bakhtin K. N. Beggrov A. K. Beklimishev V. A. Bogatyrev V. S. Bogdanov I. P. Bogdanov-Belsky N. P. Bogolyubov A. P. Bodarevsky N. K. Bronnikov F. A. Bryullov P. A. Byalynitsky–Birulya V. K. Vasnetsov A. M. Vasnetsov V. M. Vinogradov S. A. Volkov E. E. Gorbatov K. I. Gun K. F. Dvornikov T. Ya. Dosekin N. V. Dubovskoy N.N. Endogurov I. I. Zhukovsky S. Yu. Zagorsky N. P. Zaitsev M. M. Zarubin V. I. Ivanov S. V. Isupov A. V. Kasatkin N. A. Kelin P. P. Kiselev A. A. Korin A. M. Kostandi K. K. Kravchenko A. I. Kuznetsov N. D. Kuindzhi A. I. Lakhovsky A. B. Lebedev K. V. Levitan I. I. Leman Yu. Ya. Lissner E. E. Litovchenko A. D. Makovsky A. V. Makovsky V. E. Maksimov V. M. Malyutin S. V. Miloradovich S. D. Minchenkov Ya. D. Moravov A. V. Murashko A. A. Mukhin A. I. Nevrev N. V. Nesterov M. V. Nikiforov S. G. Nilus P. A. Orlov N. V. Ostroukhov I. S. Pervukhin K. K. Petrovichev P. I. Pimonenko N. K. Pozen L. V. Polenov V. D. Popov L. V. Pokhitonov I. P. Radimov P. A. Razmaritsyn A. P. Repin I. E. Repin Yu. I. Rzhevskaya A. L. Ryabushinsky S. P. Savitsky G. K. Savitsky K.;A. Svarog V. S. Svetoslavsky S. I. Serov V. A. Sokolov V. I. Stepanov A. S. Surenyants V. A. Surikov V. I. Tikhov V. G. Turzhansky L. V. Feshin N. I. Kharlamov A. A. Kholyavin N. F. Shanks E. Ya. Shemyakin M. F. Schilder A. N. Shulpinov N. S. Shcherbinovsky D. A. Yaroshenko N. A. Yartsev G.F. | Photo of TPHV (1885) | |
| Exhibitors of the Association (1870-1923) | |
|---|---|
| Aladzhalov M. Kh. Antokolsky M. M. Arakelyan S. A. Bazhin N. N. Baturin V. P. Belyaev V. V. Benkov P. P. Bogatov N. A. Bogdanov V. S. Bogdanov N. G. Botkin M. P. Brodsky I. I. Bukovetsky E. I. Burlyuk D. D. Buchkuri A. A. Bykovsky N. M. Vereshchagin V. V. Vladimirov I. A. Volnukhin S. M. Vysotsky K. S. Gerasimov A. M. Ginzburg I. Ya. Golovin A. Ya. Gorelov G. N. Gorokhov I. L. Grandkovsky N. K. Gritsenko N. N. Gugunava I. G. Guzhavin M. M. Domogatsky V. N. Drozdov I. G. Dyukker E. E. Zhuravlev V. V. Zabello P. P. Zaretsky A. A. Zarudnaya-Kovas E. S. Ignatiev M. I. Kabanov N. M. Kazakov I. S. Kaigorodov A. D. Kalmykov I. L. Kamensky F. F. Kandaurov A. I. Karinskaya A. N. Katsman E. A. Kishenevsky S. Ya. Klodt N. A. Kokel A. A. Korovin K. A. Korovin S. ;A. Krainev V. V. Krachkovsky I. E. Kryzhitsky K. Ya. Kuznetsov V. A. Leblanc M. V. Levchenko P. A. Makovskaya A. E. Malyshev M. G. Malyavin F. A. Marten D. E. Martynovich P. D. Matveev N. S. Menk V. K. Meshkov V. V. Meshkov V. N. Meshcherin N. V. Meshchersky A. I. Modorov F. A. Myasoedov I. G. Pasternak L. O. Pelevin I. A. Pereplyotchikov V. V. Perov V. V. Petrokokino E. K. Piotrovich S. K. Platonov Kh. P. Pozdneev V. I. Polenova E. D. Postnikov S. P. Protopopov N. A. Prokhorov S. M. Pcholin V. N. Pyrin M. S. Rerberg F.I. Ryabushkin A.P. Sapunov N. N. Svetlitsky G. P. Simov V. A. Skalon A. V. Sokolov M. G. Stolitsa E. I. Strunnikov N. I. Sychkov F. V. Tatevosyants E. M. Tretyakov N. S. Troyanovsky O. I. Trubetskoy P. P. Turlygin Ya. P. Khokhryakov N. N. Khruslov G. M. Cheptsov E. M. Chizhov M. A. Chirkov A. I. Shesterkin M. I. Shmarov P. D. Shurygin A. A. Ellert N. L. Junge E. F. Yuon K. F. Yakovlev B. N. Yakovlev V. N. Yarovoy M. M. Yasnovsky F. I. |
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