Rokotov Levitsky Borovikovsky representatives of which direction. Female portrait of the late 18th century (Rokotov, Levitsky, Borovikovsky)

Fedor Stepanovich Rokotov- one of the best Russian portrait painters.

In 1762 he was admitted as an adjunct to the newly founded St. Petersburg Academy of Arts for the painting "Venus" presented to her and for the portrait of Emperor Peter III. Already enjoyed fame in St. Petersburg high society. When Catherine II ascended the throne, she instructed him, in 1763, to paint her portrait, for which she gave him sessions in Peterhof: this portrait, depicting the Empress in full growth, in profile, among a beautiful architectural setting, was presented to Count G. Orlov and is currently in the Gatchina Palace.

Another portrait of the great monarch, half-length, was also painted by Rokotov from life (probably in Moscow, in 1765). Catherine was very pleased with him, finding that he was "one of the most similar." The portrait was granted by her to the Academy of Sciences, where it is kept to this day. There are many repetitions of this portrait, both accurate and with minor changes in accessories; most of them are attributed to Rokotov himself.

In addition to these two images of Catherine, several portraits of Peter III came out from under the brush of a talented painter (one in the Moscow Armory, two in the Gatchina Palace) and Tsarevich Pavel Petrovich (the best in the same palace) and many portraits of prominent people of the Catherine era , including I. I. Shuvalov, Count G. Orlov, A. A. and B. A. Kurakins, L. I. Bibikov, P. G. Demidov, G. N. Teplov and others.

Rokotov's most enigmatic work is, perhaps, the portrait of an unknown person in a cocked hat, since researchers have not yet established who is depicted on it: either Catherine in a man's dress, or the illegitimate son of the Empress from Count Orlov.

Portraits of Count Struysky and his wife Alexandra Struyskaya - the Count is depicted as an arrogant man who, being intelligent and educated, personally flogged the serfs and beat his wife. The wife appears in the portrait sad, with sad eyes. “An angel who descended to earth,” they said about her. Despite the cruelty of her husband, she treated the serfs.

Maikov's portrait

Incredibly realistic, it perfectly captures the essence of this man: a venomous grin, a sly look. All people of high society were afraid of this man, because he was witty and cynical, and his epigrams were so caustic that after them, people were afraid to go out.

Dmitry Grigorievich Levitsky is the most significant master from the glorious galaxy of artists of the 18th century. His work is the culminating point in the development of the Russian portrait of the XVIII century. The artist, as it were, summed up what had been done over the previous period, and laid the foundations for new achievements in the field of Russian realistic portraiture.

What was this man's mission?
In the fact that he was an example of a painter of a rare gift, the main thing is that he became a mirror, by which the characters of an entire era passed by.

We can first see Levitsky's appearance, with his slightly bilious and passionate face, on the small oval of the self-portrait, where he is in the bloom of youth, in a three-quarter expressive turn, with a proud and dreamy look slightly upward and into the distance; then on the portrait signed by Borovikovsky: the lips are open, a word is about to fly off them, the look, although wide, is tense and suffering, the elbow rested on a thick book.

The history of Russia in faces - this can be briefly said about the creative heritage of D. G. Levitsky, a painter of a rare gift, whose brush reflected the era of the 18th century on his canvases. Kings and courtiers, philosophers and secular lions, cold beauties and writers, industrialists and diplomats, aristocrats and merchants, officials and soldiers, parents and children - their portraits speak of the past much more significant than any words. Hundreds of smart and stupid, evil and kind, sensual and cold faces, faces of the so-called gallant age. Whatever the face - character. Every face is a biography.

These are not just representatives of the Catherine's age, they are its personification, they are its creators. The artist fully fulfilled his mission as a painter of history (although he did not create a single historical picture), and for this his contemporaries first elevated him to a pedestal of fame, and then safely forgot, absorbed in their affairs, intrigues and calculations. And it is not known under which mound in the old Smolensk cemetery the person who managed to immortalize their appearances is buried.

Relatively late, in the late 1790s, Borovikovsky becomes famous portrait painter.

His work is dominated by a chamber portrait. V. L. Borovikovsky embodies the ideal of beauty of his era in female images. On the double portrait "Lizinka and Dashinka" ( 1794 ) the portrait painter with love and reverent attention captured the maids of the Lvov family: soft curls of hair, whiteness of faces, a slight blush.

The artist subtly conveys the inner world of the people he depicts. In a chamber sentimental portrait, which has a certain limited emotional expression, the master is able to convey the variety of innermost feelings and experiences of the models depicted. An example of this is the work done in 1799"Portrait of E. A. Naryshkina."

Borovikovsky seeks to affirm the self-worth and moral purity of a person (portrait of E. N. Arsenyeva, 1796 ). In 1795, V. L. Borovikovsky wrote “Portrait of the Torzhkovskaya peasant woman Khristinya”, we will find echoes of this work in the work of the master’s student - A. G. Venetsianov.

In the 1810s, Borovikovsky was attracted by strong, energetic personalities; he focuses on citizenship, nobility, and the dignity of those portrayed. The appearance of his models becomes more restrained, the landscape background is replaced by the image of the interior (portraits of A. A. Dolgorukov, 1811, M. I. Dolgoruky, 1811, etc.).

VL Borovikovsky is the author of a number of ceremonial portraits. The most famous of them are "Portrait of Paul I in a white dalmatic", "Portrait of Prince A. B. Kurakin, Vice-Chancellor" (1801-1802). Ceremonial portraits of Borovikovsky most clearly demonstrate the artist's mastery of the brush in conveying the texture of the material: the softness of velvet, the brilliance of gilded and satin robes, the radiance of precious stones.

Borovikovsky is also a recognized master portrait miniature. In collection Russian Museum works belonging to his brush are kept - portraits of A. A. Menelas, V. V. Kapnist, N. I. Lvova and others. As basics for his miniatures, the artist often used tin.

The work of V. L. Borovikovsky is a fusion of the styles of classicism and sentimentalism that developed at the same time.

In his last years, Borovikovsky returned to religious painting, in particular he painted several icons for under construction Kazan Cathedral,iconostasis Church of the Smolensk cemetery in St. Petersburg. Gave painting lessons to a beginner then artist Alexey Venetsianov.

F.S. Rokotov(1732 or 1735 / 6-1808) - an outstanding portrait painter of the 18th century. Early 60s. - Studying at the Academy of Fine Arts. 1765 - assignment of the title of academician. The innovative nature of Rokotov's work (portraits of Grand Duke Pavel Petrovich in childhood and youth, A.G. Bobrinsky in childhood, the poet V.I. Maikov, etc.). The Moscow period (portraits of the Struisky couple, "Unknown in a cocked hat", A.I. Vorontsov, "Unknown in a pink dress", etc.). Poetic spirituality in the portraits of Rokotov in the 80s. (portraits by V.E. Novosiltseva, P.N. Lanskoy, E.V. Santi and others).

Features of Rococo and Classicism in his work.

Great master of Russian portraiture D.G. Levitsky(1735-1822) - the creator of images of representatives of different strata of Russian society in the 70-80s of the XVIII century. Leadership of the portrait class of the Academy of Arts (1771-1787).

Portraits of the 60s. The most famous portrait of that time is the portrait of A.F. Kokorinov.

"Smolyanki" - the famous suite of seven portraits (F.S. Rzhevskaya and N.M. Davydova, E.I. Nelidova, E.N. Khrushcheva and E.N. Khovanskaya, A.P. Levshina, N.S. Borshcheva, E. I. Molchanova, G. I. Alymova, 1770s).

Portraits of progressive people of the XVIII century - Denis Diderot, P.A. Demidova, N.A. Lvov.

Female portraits of the 80s - Princess P.N. Repnina, E.A. Vorontsova, N.Ya. Levitskaya, A.D. Levitskaya.

Male portraits of the 80s - M.F. Poltoratsky, A.V. Khrapovnitsky, A.D. Lansky.

Creation of ceremonial portraits of the Empress. "Portrait of Catherine II - legislator in the temple of the goddess of justice." The program of this portrait.

Portraits of the 90s - V.I. Mitrofanova and M.A. Mitrofanova; I.I. Gaufa.

Features of classicism in the work of Levitsky.

The most prominent representative of a new stage in the development of portraiture V.L. Borovikovsky (1757-1825).

Early works of the master (portraits of o.F. Filippova, Catherine II).

Lyricism of women's portraits. Portrait of M.I. Lopukhina. The role of accessories in revealing the image of the personality of a male portrait (portraits of G.R. Derzhavin, D.P. Troshchinsky, F.A. Borovsky).

Work on ceremonial portraits - Paul I, Prince A.B. Kurakin, prince of the Persian Qajar dynasty Murtaza Kuli Khan.

Transfer of friendship and strength of family relations in group portraits. Portraits of Lizynka and Dashenka, sisters of A.G. and I.G. Gagarins.

Features of classicism and sentimentalism in the work of Borovikovsky.

Participation of Borovikovsky at the beginning of the 19th century in the work on the iconostasis of the Kazan Cathedral.

Other Russian portrait painters of the second half of the 18th century. P.S. Drozhdin(1745 (?) - 1805). Portrait of the artist A.P. Antropova with her son in front of a portrait of his wife. Portrait of Empress Maria Feodorovna.

L.S. Miropolsky(1744/5-1819). Presumably, he is a student of D.G. Levitsky. Portrait of adjunct rector of the Academy of Arts G.I. Kozlov.

S.S. Schukin(1762-1828) - portrait painter. From 1788 he taught at the portrait painting class of the Academy of Arts. The significance of the portraits of Paul I by Shchukin for revealing the personality of the Russian emperor.

V.Ya. Rodchev(1768-1803). Historical painter and portrait painter. He taught drawing in the class of historical painting. Careful study of the image of the person being portrayed.

S. Pogodin. Portrait of the engraver and miniaturist G.I. Skorodumova.

M.I. Belsky(1753 (?) - 1794 (?)). Portrait of the teacher of history and geography Baudouin with two pupils of the Academy of Arts of the first and third age.

N.I. Argunov(1771 - not earlier than 1829). Portrait painter, miniaturist, decorator. Serf Count N.P. Sheremetev. He painted portraits of serf theater artists, ceremonial portraits of Paul I, N.P. Sheremetev and his wife, former serf actress P.I. Kovaleva-Zhemchugova.

Foreign portrait painters. I.-B. Lumpy Senior(1751-1830) - Austrian painter. Portraits of Empress Catherine II and her favorites.

W. Eriksen(1722-1782) Danish painter. Portraits of Empress Catherine II. "A hundred-year-old woman in Tsarskoye Selo with her family."

J.-L. Veil(1744 - not earlier than 1806) - French painter. Portraits of members of the imperial family (Grand Duke Pavel Petrovich, Grand Duke Alexander Pavlovich, Empress Maria Feodorovna). Portrait of I.P. Yelagin.

A. Roslin(1718-1793) Swedish painter. He painted portraits of members of the imperial family and the highest nobility.

Domestic genre in Russian painting

Second half of the 18th century

Interest in the human personality, in the life of different segments of the population of Russia.

Russian painters I. Firsov(c. 1730 - not earlier than 1785). "Young Painter" Influence on this work of the French school of painting. M. Shibanov(? - not earlier than 1789). "Peasant Lunch", "Conspiracy".

foreign painters turned to the genre of everyday life. AND I. Mettenleiter(1750-1825) German painter. "Country Dinner", "Peasants and the Pie Dealer".

Landscape in Russian fine art

Second half of the 18th century

Landscape in Russian painting of the second half of the 18th century.

S.F. Shchedrin(1745-1804) - the founder of Russian landscape painting. From 1776 he was the head of the landscape painting class, from 1799 he was the head of the engraving landscape class of the Academy of Arts.

Artist's works: “Noon. (View in the vicinity of Lake Nemi)”, “Landscape with a cow”, “View in the estate of P.G. Demidov Sivoritsy near Petersburg" and others.

F.Ya. Alekseev(1753/4-1824) - one of the founders of the Russian urban landscape. Studying at the Russian Academy of Arts, at the Venetian Academy of Arts. From 1803 he taught at the Academy of Arts in the class of perspective painting.

Italian views in the artist's work. “Internal view of the courtyard with a garden. Loggia in Venice. Copies of works by A. Kanal and B. Belotto.

Russian views in the artist's work. Petersburg: "View of the Palace Embankment from the Peter and Paul Fortress", "View of the Mikhailovsky Castle in St. Petersburg from the Fontanka", "View of the Mikhailovsky Castle and Connetable Square". Moscow: "Red Square", "View of the Moscow Kremlin and the Stone Bridge".

Oriental views in the artist's work. View of the city of Bakhchisarai.

MM. Ivanov(1748-1823) - landscape painter and battle painter. From 1800 he led a class of battle painting, from 1804 a class of landscape painting.

Reporting retirement work. Paired paintings "Milking a cow" and "The shepherd and the shepherdess returning from the flock."

Service in the staff of the governor of the southern provinces of Russia, Prince G.IA. Potemkin. Paintings created by the artist during a trip to Ukraine, Crimea, Georgia, Armenia. "View of Etchmiadzin in Armenia", etc.

The role of landscape painting in the battle works of the master - "Storm of Izmail", "Storm of Ochakov".

F.M. Matveev(1758-1826). Heroic landscape in the style of classicism in the works of Matveev. "View of the city of Tivoli near Rome", "Landscape with figures in antique clothes".

Sculpture of the second half of the 18th century.

Creativity F.I. Shubin

The rise of the national school of sculpture.

The Role of Ancient Heritage in the Works of Russian Sculptors of the Second Half of the 18th Century. Themes and artistic language characteristic of classicism.

M.I. Kozlovsky(1753-1802). Contemporaries in the form of ancient gods. Statue of Catherine II in the image of Minerva, Catherine II in the image of Themis. A.V. Suvorov in the form of Hercules ("Hercules on horseback") and Mars (monument to A.V. Suvorov). Mythological, literary and historical heroes of antiquity in the works of sculpture: "Apollo", "Sleeping Cupid", "Cupid with an arrow", "Hymeneus" "Narcissus" ("Boy drinking water"); terracotta based on the Iliad; "Vigil of Alexander the Great".

F.F. Shchedrin(1751-1825). Marsyas, Sleeping Endymion, Judgment of Paris, Venus, Diana.

F.G. Gordeev(1744-1810). "Prometheus".

monumental sculpture. Civic ideas and high figurativeness of sculptural monuments of the second half of the 18th century.

EM. Falcone. Monument to Peter I. (Help of the sculptor's student - M.-A. Kallo in the solution of the portrait of the emperor). M.I. Kozlovsky. Monument to A.V. Suvorov.

The second half of the 18th century is the heyday of the main genres of sculpture.

memorial sculpture. Artistic tombstone and memorial theme in Russian art. I.P. Martos(1754-1835). Evolution from the "loquacity" of early tombstones to the simplicity and conciseness of the artistic language of classicism. Tombstone of a statesman, diplomat Count N.I. Panin, tombstone of Princess E.S. Kurakina, tombstone of Princess E.I. Gagarina. Using the experience gained during their creation in the monument to citizen Minin and Prince Pozharsky.

decorative sculpture. Decorative sculpture of Peterhof. F.G. Gordeev. Bas-reliefs of the Grand Peterhof Palace and sculptures for cascades. F.F. Shchedrin. Participation in the creation of the sculptural complex of Peterhof fountains ("Neva"). I.P. Prokofiev (1758-1828). His works for Peterhof fountains are "Shepherd Akid", "Volkhov", "Tritons".

Portrait. Creativity of the sculptor-portraitist F.I. Shubin(1740-1805). Studying at the Academy of Arts and retirement (a relief portrait of I. I. Shuvalov and a bust of F. N. Golitsyn). A cycle of historical portraits - fifty-eight oval marble reliefs for the Chesme Palace.

Portraiture from nature is the main line of the sculptor's work. Busts - Vice-Chancellor Prince A.M. Golitsyn, General-in-Chief of His Serene Highness Prince G.G. Orlov, Field Marshal Count P.A. Rumyantsev-Zadunaisky, Minister of Public Education P.V. Zavadovsky, Field Marshal B.P. Sheremetev, Field Marshal His Serene Highness Prince G.A. Potemkin-Tavrichesky, Field Marshal Prince N.V. Repnin, General of Infantry P.A. Zubov, Admiral V.Ya. Chichagov, Secretary of State and Chief Chamberlain Count A.A. Bezborodko.

Memory work. Portrait of a great countryman - M.V. Lomonosov.

Portraits and statues of Russian emperors. Numerous portraits of Catherine II. Statue "Catherine II - Legislator". The proximity of this work to the picturesque portrait of Levitsky and the program created for this work by the architect Lvov. Uncompromising portraits of Paul I.

Contents: 20 slides, manual

The slide set tells about the work of the first Russian portrait painters F.S. Rokotova, D.G. Levitsky and V.L. Borovikovsky. Images of portraits of A.P. Struiskaya, Khrushcheva and Khovanskaya, P.A. Demidova, M.I. Lopukhina, Catherine II on a walk in Tsarskoye Selo park and others carry objective and accurate psychological characteristics, express advanced views on the individual, his human and social value.

The visual series of the manual includes the following slides

Click on the picture to enlarge

1. F. Rokotov. Portrait of Prince Grigory Volkonsky. 1780
2. F. Rokotov. Portrait of Varvara Surovtseva. 1780
3. F. Rokotov. Portrait of an unknown woman in a pink dress. 1770s
4. F. Rokotov. Portrait of Countess Elizabeth Santi. 1785
5. F. Rokotov. Portrait of Alexandra Petrovna Struiskaya. 1772
6. F. Rokotov. Portrait of a naked girl. 1780s
7. D. Levitsky. Portrait of Khrushcheva and Khovanskaya. 1773
8. D. Levitsky. Portrait of Ekaterina Molchanova. 1776
9. D. Levitsky. Alexander Kokorinov, director and first rector of the Academy of Arts. 1769
10. D. Levitsky. Portrait of Princess Praskovya Repnina. 1781
11. D. Levitsky. Portrait of the adjutant of the Empress Alexander Lanskoy. 1782
12. D. Levitsky. Portrait of Prokofy Akinfievich Demidov. 1773
13. D. Levitsky. Portrait of Maria Alekseevna Dyakova. 1778
14. V. Borovikovsky. Portrait of the sisters of the princesses A.G. and V.G. Gagarins. 1802
15. V. Borovikovsky. Portrait of Ekaterina Arsenyeva. 1790
16. V. Borovikovsky. Portrait of Skobeeva. 1790
17. V. Borovikovsky. Portrait of Major General Fyodor Borovsky. 1799
18. V. Borovikovsky. Countess Anna Bezborodko with her daughters Luba and Cleopatra 1803
19. V. Borovikovsky. Portrait of Maria Ivanovna Lopukhina
20. V. Borovikovsky. Catherine II for a walk in Tsarskoye Selo park. 1794

Among the many Russian and foreign artists who worked in Russia, the outstanding portrait masters in the 18th century can be safely called

A.P. Antropova, I.P. Argunova, F.S. Rokotova, D.G. Levitsky, V.L. Borovikovsky.

On his canvases A.P. Antropov and I.P. Argunov sought to portray a new ideal of a person - open and energetic. Cheerfulness, festivity was emphasized by bright colors. The dignity of the depicted, their corpulence was conveyed with the help of beautiful clothes and solemn static poses.

A.P.Antropov and his paintings

Self-portrait of A.P. Antropov

In the work of A.P. Antropov, there is still a noticeable connection with icon painting. The master paints the face with continuous strokes, and clothes, accessories, background - freely and widely. The artist does not "fawn" before the noble heroes of his paintings. He paints them as they really are, no matter what features, positive or negative, they do not possess (portraits of M.A. Rumyantseva, A.K. Vorontsova, Peter III).

Among the most famous works of the painter Antropov are portraits:

• Izmailov;
• A.I. and P.A. Kolichyov;
• Elizabeth Petrovna;
• Peter I;
• Catherine II in profile;
• ataman F. Krasnoshchekov;
• portrait book. Trubetskoy

I.P. Argunov - portrait painter of the 18th century

I.P. Argunov "Self-portrait"

Developing the concept of the national portrait, I.P. Argunov quickly and easily mastered the language of European painting and abandoned the old Russian traditions. Stand out in his legacy are the ceremonial retrospective portraits that he painted from lifetime images of the ancestors of P.B. Sheremetev. In his work, the painting of the next century is foreseen. He becomes the creator of a chamber portrait, in which great attention is paid to the high spirituality of the image. This was the intimate portrait, which became more common in the 19th century.

I.P. Argunov "Portrait of an unknown woman in a peasant costume"

The most significant images in his work were:

• Ekaterina Alekseevna;
• P.B. Sheremetev in childhood;
• the Sheremetevs;
• Catherine II;
• Ekaterina Aleksandrovna Lobanova-Rostovskaya;
• unknown in a peasant costume.

F.S. Rokotov - artist and paintings

A new phase in the development of this art is associated with the name of the Russian portrait painter - F.S. Rokotova. He conveys the play of feelings, the variability of the human character in his dynamic images. The world seemed to the painter spiritualized, and so are his characters: multifaceted, full of lyricism and humanity.

F. Rokotov "Portrait of an unknown man in a cocked hat"

F.S. Rokotov worked in the genre of a half-dress portrait, when a person was depicted waist-deep against the backdrop of architectural buildings or a landscape. Among his first works are portraits of Peter III and Grigory Orlov, the seven-year-old Prince Pavel Petrovich and Princess E.B. Yusupova. They are elegant, decorative, colorful. The images are painted in the Rococo style with its sensuality and emotionality. Thanks to the works of Rokotov, one can learn the history of his time. The entire advanced noble elite strove to be captured on the canvases of the great painter's brush.

Chamber portraits of Rokotov are characterized by: bust image, turn to the viewer by ¾, creation of volume by complex light and shade molding, harmonious combination of tones. With the help of these expressive means, the artist creates a certain type of canvas, which depicted the honor, dignity, spiritual grace of a person (portrait of the "Unknown Man in a cocked hat").

F.S. Rokotov "Portrait of A.P. Struyskaya"

Especially remarkable were the artist's youthful and female images, and even a certain Rokotovsky type of woman developed (portraits of A.P. Struyskaya, E.N. Zinovieva and many others).

In addition to those already mentioned, the works of F.S. Rokotov brought fame:

• IN AND. Maykov;
• Unknown in pink;
• V.E. Novosiltseva;
• P.N. Lanskoy;
• Surovtseva;
• A.I. and I.I. Vorontsov;
• Catherine II.

D.G.Levitsky

D.G.Levitsky Self-portrait

It was said that the portraits of D. G. Levitsky reflected the whole century of Catherine. Whomever Levitsky portrayed, he acted as a subtle psychologist and certainly conveyed sincerity, openness, sadness, as well as the national characteristics of people.

His most outstanding works: a portrait of A.F. Kokorinov, a series of portraits "Smolyanka", portraits of Dyakova and Markerovsky, a portrait of Agashi. Many of Levitsky's works are considered intermediate between ceremonial and chamber portraits.

D.G. Levitsky "Portrait of A.F. Kokorinov"

Levitsky combined in his work the accuracy and truthfulness of the images of Antropov and the lyrics of Rokotov, as a result of which he became one of the most prominent masters of the 18th century. . His most famous works are:

• E. I. Nelidova
• M. A. Lvova
• N. I. Novikova
• A. V. Khrapovitsky
• the Mitrofanovs
• Bakunina

V.L.Borovikovsky - master of sentimental portrait

Portrait of V.L. Borovikovsky, art. Bugaevsky-blagodatny

The personality of the domestic master of this genre V.B. Borovikovsky is associated with the creation sentimental portrait. His miniatures and oil portraits depicted people with their experiences, emotions, conveyed the uniqueness of their inner world (portrait of M.I. Lopukhina). Women's images had a certain composition: a woman was depicted against a natural background, waist-deep, she leaned on something, holding flowers or fruits in her hands.

V.L.Borovikovsky "Portrait of Paul I in the costume of the Order of Malta"

Over time, the images of the artist become typical for the entire era (portrait of General F. A. Borovsky), and therefore the artist is also called the historiographer of his time. Peruvian artist owns portraits:

• V.A. Zhukovsky;
• "Lizanka and Dashenka";
• G.R. Derzhavin;
• Paul I;
• A.B. Kurakina;
• "Beardless with daughters."

For the development of Russian painting, the 18th century was a turning point. The portrait becomes the leading genre . Artists adopt painting techniques and basic techniques from their European colleagues. But the focus is on a person with his own experiences and feelings.

Russian portrait painters tried not only to convey the similarity, but also to reflect on their canvases the soulfulness and inner world of their models. If Antropov and Argunov strove, having overcome conventions, to truthfully depict a person, then Rokotov, Levitsky and Borovikovsky went further. Spiritual personalities look from their canvases, the mood of which was captured and conveyed by the artists. All of them strove for the ideal, they sang beauty in their works, but bodily beauty was only a reflection of the humanity and spirituality inherent in the Russian people.