As an artist, Nikolai Yaroshenko combined the incompatible - he rose to the rank of general and became a world-famous painter. Memoria

Nikolai Aleksandrovich Yaroshenko (December 1, 1846, Poltava, Russian Empire - June 26, 1898, Kislovodsk, Terek region, Russian Empire) - Russian painter and portrait painter, member of the Peredvizhniki Association.

Nikolai Aleksandrovich Yaroshenko was born on December 13, 1846 in Poltava ( Russian empire) in the family of a retired major general. The parents of the future artist wanted their eldest son to continue his military career (the father retired as a major general, the mother was the daughter of a retired lieutenant) and did not attach much importance to the boy’s artistic talent.

In 1855, 9-year-old Nikolai was assigned to the Poltava Cadet Corps, after which in 1863 he entered the St. Petersburg Pavlovsk Infantry School. The future military engineer continued his studies at the Mikhailovsky Artillery Academy in 1867 and at the same time began to attend the Academy of Arts. He also took private drawing lessons, worked in the studio of Andrian Markovich Volkov (1829-1873) and attended evening classes at the School for the Encouragement of the Arts, where Ivan Kramskoy taught.

Back in Poltava, his painting teacher was the former serf Ivan Kondratievich Zaitsev (1805-1887).

After graduating with honors from the Academy in 1869, Nikolai Yaroshenko was assigned to a cartridge factory in St. Petersburg, where he served for more than 20 years.

In 1874 he graduated from the Academy of Arts as an external student. Over the years of study, he became close to Peredvizhniki artists and writers from the journal Otechestvennye zapiski. On “Saturdays” the elite of the intelligentsia gathered in his apartment.

In 1875, Yaroshenko made his debut at the 4th Traveling Exhibition with the painting “Nevsky Prospekt”. A year later, he became a member of the Partnership and was immediately elected to the board. He remained its leading representative together with Ivan Nikolaevich Kramskoy. For more than 10 years, after the death of his teacher, Yaroshenko was his successor and spokesman for his ideas. Kramskoy was called the “mind” of the Peredvizhniki movement, and Yaroshenko was called its “conscience.”

In 1874 he married Maria Pavlovna Nevrotina, a student, Bestuzhevka, and public figure. The newlyweds visited Poltava, then left for Pyatigorsk. Leaving his young wife there, the artist spent a month painting sketches in Svaneti. The first Caucasian landscapes that the artist painted during honeymoon, caused the delight of the public. The North Caucasus for most residents of the central zone was then an unknown land. Therefore, when the artist brought the painting “Shat-Mountain (Elbrus)” (1884) to St. Petersburg, many considered the panorama of the Caucasus Range depicted there to be the author’s fantasy. With the light hand of critic Vladimir Stasov, the artist Yaroshenko received the nickname “mountain portrait painter.”

In 1885, Yaroshenko bought a house in Kislovodsk called “White Villa”, where the family spent the summer. Numerous friends and guests came to them - writers, artists, scientists, frequent guests of “Yaroshenko Saturdays” in St. Petersburg: Sergei Rachmaninov, Fyodor Chaliapin, Leonid Sobinov, Konstantin Stanislavsky, Gleb Uspensky, Ivan Pavlov and Dmitry Mendeleev, actress Polina Strepetova.

The artists did not forget their colleagues: Repin, Nesterov, Ge, Dubovskoy, Kasatkin, Kuindzhi. Leo Tolstoy was going to take refuge with Yaroshenko when he was planning his first escape from Yasnaya Polyana. The hospitable owners added several outbuildings to their five-room house, and the guests of the dacha themselves helped with painting using the Pompeii fresco technique. Yaroshenko lived and worked at White Villa until his death.

In 1892, due to health reasons, Nikolai Aleksandrovich Yaroshenko, fulfilling his father’s dream and repeating his path, retired with the rank of major general.

In 1897, despite tracheal tuberculosis, Yaroshenko went on a trip around Russia and the world: the Volga region, Italy, Syria, Palestine, Egypt. From his travels he brought back many paintings, sketches, sketches, portraits and graphic works.

Yaroshenko died on June 26 (July 7), 1898 from a heart attack the day after he ran more than 10 km home in the rain from the Big Saddle Mountain, where he painted from life. The artist was buried in Kislovodsk near the Cathedral of St. Nicholas the Wonderworker, not far from the White Villa. A year later, a monument was erected at his grave - a bronze bust of the artist on a black pedestal, against the backdrop of a granite stele with a relief image of a cross, a palm branch and a palette with brushes. 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.

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Gunib. Dagestan

An outstanding (and almost forgotten) Russian landscape and portrait painter of the nineteenth century.

Biography of the artist Nikolai Alexandrovich Yaroshenko

Artist Nikolai Yaroshenko was born in December 1846 in Poltava.

Little Kolya began to draw very early, but his parents studiously did not notice his obvious talent for the simple reason that they saw his future connected with military service.

Nikolai Alexandrovich's dad was a retired major general. And my mother was from a family of hereditary military men. Nine-year-old Nikolai was assigned to the Poltava Cadet Corps. Two years later, the boy became a cadet in the First Cadet Corps in St. Petersburg.

In 1863, Nikolai Yaroshenko entered the First Pavlovsk Military School. Since young man his abilities in exact sciences were revealed, he was transferred to the Mikhailovsky Artillery Academy.

During this period, Nikolai Alexandrovich, in parallel with studying artillery, studied at the Academy of Arts. There is a catastrophic lack of time. Yaroshenko tries to combine studies at academies, and after classes he hurries to the cartridge factory, where he works as the head of a stamping workshop. He also takes private drawing lessons from Andrian Volkov and attends classes at the Society for the Encouragement of the Arts, where Ivan Kramskoy becomes his teacher.

In 1869, Nikolai Alexandrovich graduated from the Mikhailovsky Academy and was assigned to a cartridge factory in St. Petersburg. Yaroshenko will work at this plant for 20 years.

In 1874, the artist graduated from the Academy of Arts as an external student and married Maria Pavlovna Navrotina (a student, Bestuzhevka, social activist). The newlyweds go on a honeymoon to Poltava, then go to the North Caucasus to Pyatigorsk. Yaroshenko leaves his wife in Pyatigorsk, and he himself writes sketches in Svaneti for a whole month. These landscapes, painted during the honeymoon, will subsequently be enthusiastically received by the public.

In 1875, Yaroshenko debuted with great success at the 4th Traveling Exhibition with just one painting, “Nevsky Prospekt,” and a year later became a member of the Partnership. And he was immediately elected to the board of this association of artists. Later, the Comrades will say that Yaroshenko was the real conscience of the Partnership of Itinerants.

The Caucasian landscapes presented to the public were received, as I wrote above, with delight. Very soon, Nikolai Alexandrovich acquired the nickname “mountain portrait painter.”

In 1885, the Yaroshenko family went to Kislovodsk, where the artist bought a house. In the summer, numerous guests come to Yaroshenko, who were regular participants in “Yaroshenko Saturdays” in St. Petersburg. These are writers, composers, artists, musicians... I will not list the names of the guests, since it is easier to name those who did not stay in the house of the Yaroshenko family.

In the end, the hospitable owners added several outbuildings to the five-room house for numerous guests. The artist settled in this house, known as the “White Villa”, after he retired in 1892 (with the rank of major general). For health.

Yaroshenko developed tuberculosis.

In 1897, Nikolai Alexandrovich went on a long journey: the Volga region, Italy, Syria, Egypt. From this journey he brought a huge number of paintings, sketches, portraits and graphic works.

Yaroshenko died in June 1898. And not at all from tuberculosis. He painted from life on Mount Big Saddle. It started to rain and the artist decided to go for a run to his “White Villa”. These 10 kilometers were the last in his life. He ran home, but felt unwell, and the next day he died due to cardiac arrest.

The artist’s ashes were buried in Kislovodsk.

The artist left behind wonderful Caucasian landscapes (some of the works can be seen today in Tretyakov Gallery), genre paintings“civil grief”, and also simply magnificent portraits.

I would like to bring to your attention a small gallery of the artist’s works.

Paintings by artist Nikolai Aleksandrovich Yaroshenko

Nikolai Yaroshenko (December 1, 1846, Poltava - June 26, 1898, Kislovodsk) - Russian painter and portraitist.

Biography of Nikolai Yaroshenko

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 studying on weekends and holidays in the studio of the artist Adrian Markovich Volkov.

After graduating from the Cadet Corps and entering Pavlovskoe 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, and at the same time, as a free listener, he began to attend classes at the Academy of Arts.

It took strength of character and a passionate love of art to complete his artistic education while studying at the military academy, and then serving at the St. Petersburg cartridge factory.

Soon, after graduating from the Academy of Arts in 1874, Nikolai Aleksandrovich 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 dates back to the same period.

Creativity Yaroshenko

In the early 1870s, the artist’s first portraits appeared, “Old Man with a Snuff Box,” “Peasant,” “ Old Jew", "Ukrainian".

In those days, new democratic art was developing outside the walls of the Academy. Yarosheko became a frequent regular at drawing evenings with I. N. Kramskoy and P. A. Bryullov.

After the first portraits in the summer of 1874, Yaroshenko began to paint his first big picture“Nevsky Prospect at Night”, which he presented at the IV Traveling Exhibition. Critics' opinions about the work 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, St. Petersburg started talking about Yaroshenko. 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.

Yaroshenko’s remarkable contribution to Russian painting was a cycle of paintings dedicated to the advanced Russian youth, the various revolutionary students. Yaroshenkov’s “Student,” young and charming, became no less a revelation than the paintings “Stoker” and “Prisoner.”

The canvas “Student” became the first image of a female student in Russian art. Women's desire for education and independence in that era was extremely high. Therefore, Yaroshenko’s picture was especially in tune with the time.

One of best works Yaroshenko became the painting “Student”, which appeared at the X Traveling Exhibition. This is a kind of “historical” portrait of a generation, personifying a whole stage liberation movement 1870s.

Perhaps what Yaroshenko was best at was his unique historical images, portraits outstanding people second half of the 19th century 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 artist’s work, portraits are represented in the majority of paintings.

The portrait of actress Pelageya Antipyevna Strepetova was rightfully considered a masterpiece portrait painting 1870-1880s.

• The plot of the painting “At the Lithuanian Castle” (1881, not preserved) is associated with the attempt by Vera Zasulich on the life of the St. Petersburg mayor F. F. Trepov. This event was perceived as a protest against the terrible conditions of detention of political prisoners held in the Lithuanian Castle. The police authorities prohibited the exhibition of 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 surviving sketches and preparatory materials he wrote The Terrorist again. Currently the painting is kept in Kislovodsk art museum N. A. Yaroshenko.
• The actual collapse of the Partnership was a terrible blow for Yaroshenko. Repin, Kuindzhi and others returned to the reformed Academy, citing the opportunity to teach realistic art to students there. “It’s not the walls’ fault!” - Repin justified himself. “It’s not about the walls,” Yaroshenko objected to him, “it’s about betrayal of the ideals of the Partnership!” In anger, Yaroshenko paints the picture “Judas,” writes from a photograph of his once dearly beloved A.I. Kuindzhi.

The canvas “Teberda Lake”, along with many other works by Nikolai Yaroshenko, allowed residents of central Russia to discover the North Caucasus.

The name of this artist is not very well known. No matter which of my friends I asked about him, everyone just shrugged their shoulders. But everyone to whom I showed reproductions of his works exclaimed in surprise, “Oh, so it’s him! Well, of course I know! I experienced something similar myself in Kislovodsk, where vacationers are entertained with various excursions - including to the House-Museum of the artist Nikolai Yaroshenko. At first I didn’t expect anything special from some unfamiliar painter, but suddenly I realized that I had seen these paintings more than once in the Russian Museum, and in the State Tretyakov Gallery, and even in the textbook “Native Speech” for the fourth grade...

Nikolai Yaroshenko devoted himself to art without leaving military service. Listening to the story about the fate of the artist, I remembered that many glorious representatives of Russian culture served in the army - these are Mikhail Lermontov, Afanasy Fet, Alexander Kuprin, Pavel Fedotov, Vasily Vereshchagin, Modest Mussorgsky, Nikolai Rimsky-Korsakov.

Nikolai Yaroshenko was born in 1864 in Poltava in the family of a retired major general. From childhood, Nikolai was prepared for military career. His father dreamed that his eldest son would follow in his footsteps, and did not pay attention to the boy’s interest in painting. When the time came, the general sent his son to the Poltava Cadet Corps, where he himself had once served, and after graduation, as a youth, young Yaroshenko left for St. Petersburg and entered the Pavlovsk School there. At the same time, Nikolai took private drawing lessons, and then attended evening classes at the drawing school of the Society for the Encouragement of the Arts, where Ivan Kramskoy taught. The future military engineer continued his studies at the Mikhailovsky Artillery Academy and at the same time began to attend the Academy of Arts.

The story about Yaroshenko's military career is very brief: he graduated from the military academy with honors and was assigned to the St. Petersburg cartridge plant, where he served for more than 20 years. Having fulfilled his father's dream and repeated his path, he retired with the rank of major general. And here is a story about the artist and public figure Nikolai Yaroshenko should be more extensive.

The head of the stamping workshop of the St. Petersburg Cartridge Plant, Staff Captain Yaroshenko, continued to attend classes at the Academy of Arts in the evenings for another four years. During this time, he became close to the Peredvizhniki artists and writers who united around the journal Otechestvennye zapiski. Yaroshenko’s worldview was shaped by the ideas of Chernyshevsky and Dobrolyubov, and he was inspired by the poetry of Nekrasov. At the plant, Yaroshenko communicated a lot with the workers. Gradually he became imbued with their needs, and the views very characteristic of the Russian intelligentsia of the latter became close to him quarter of the XIX century. This worldview played a decisive role in the choice of subjects for his paintings and in the mood they conveyed.

The painting “Nevsky Prospect at Night” depicts two women standing on a panel of a deserted avenue on a rainy night. It was she who brought Yaroshenko his first recognition - he was accepted into the Association of Traveling Art Exhibitions. He soon joined its board and led the company together with Ivan Nikolaevich Kramskoy for more than 10 years, and after the death of the teacher he became his successor and keeper of the ideas of the Partnership. And if Kramskoy was called the “mind” of the Peredvizhniki movement, then Yaroshenko was called its “conscience”.

Depicting in his paintings ordinary people Living a hard and joyless life, Yaroshenko followed the realistic traditions of the Itinerants - such are his “Stoker” and “Prisoner”.

He “saw” his fireman in one of the workshops of his factory, and the image he created became one of the first in a series of portraits of workers in the history of Russian art. Even critics of those times noted that the artist expressed sympathy not only for the personality of his hero, but also for the emerging labor movement as a whole. And in the painting “At the Lithuanian Castle” (1881), Yaroshenko’s military authorities found signs of social protest and placed him under a week’s house arrest, after which he was invited to a conversation with the Minister of Internal Affairs Loris-Melikov. And the painting was removed from the exhibition of the Traveling Exhibition, which opened on March 1, 1881, on the day of the assassination of Alexander II.

After marrying Maria Navrotina, one of the few women of that time who received higher education, - Yaroshenko decided to organize a honeymoon. First, the newlyweds visited Poltava, and then went to the North Caucasus, to Pyatigorsk. There the artist left his young wife and painted sketches in Svaneti for a whole month. And although Yaroshenko subsequently traveled a lot around Russia, Western Europe, visited Egypt, Palestine and Turkey, his heart was forever captivated by the beauty of the Caucasus mountains.

In 1885, the Yaroshenko couple settled in the North Caucasus. They acquired a small estate in the Kislovodskaya settlement, where at that time there were only seven streets. Yaroshenko spent the summer here. Numerous friends and guests began to come to them - writers, artists, scientists, who often visited St. Petersburg on “Yaroshenko Saturdays” - Sergei Rachmaninov, Fyodor Chaliapin and Leonid Sobinov, Konstantin Stanislavsky and Gleb Uspensky, Ivan Pavlov and Dmitry Mendeleev. The artists did not forget their colleague - Repin, Nesterov, Ge, Dubovskoy, Kasatkin, Kuindzhi. Leo Tolstoy was going to take refuge with Yaroshenko when he was planning his first escape from Yasnaya Polyana. The hospitable owners added several outbuildings for guests to their cozy five-room house. The estate was called the White Villa. The house was painted using the Pompeii fresco technique by the guests of the dacha. IN late XIX century, the White Villa has become one of the main cultural centers in the south of Russia.

Today, copies of paintings that became famous for their social acuity - "Stoker", "Prisoner" and "Life Everywhere", which Leo Tolstoy called "Pigeons" - are collected in one of the rooms of the house. The rest of the space is given over to portraits and landscapes.

With amazing skill, Yaroshenko created expressive portraits of typical representatives of his time. He painted people's faces, trying to convey not so much a portrait resemblance as a person's character. Here is a small sketch “Old Jew” (1896), a painting “Boy” (1892), for which the neighbor boy happily posed, or “ Female portrait(1880), which is believed to depict the artist’s wife, all of them attract the viewer with their expressiveness and brightness of characters. And the portrait of M.E. Saltykov-Shchedrin, made by Yaroshenko three years before the writer’s death, shows an elderly, sick man, seriously shocked by the closure of the journal Otechestvennye Zapiski, which he led for 15 years.

Particular attention should be paid to the portraits of the mountaineers, who, despite the prohibitions of Sharia, posed for the artist out of respect for his skill, love and careful attitude to the history and traditions of the Caucasus.

The first Caucasian landscapes that the artist painted during his honeymoon aroused the delight of the public. Ilya Repin wrote: “Yaroshenko, instead of painting paintings and portraits, should have switched to landscapes...”, although he was worried that art was losing Yaroshenko the portraitist. The sketches, made while traveling in the mountains of the North Caucasus or while walking around the outskirts of Pyatigorsk and Kislovodsk, fascinate with their colors and accuracy of conveying moods. For most residents of central Russia, the south of Russia was an unknown land. Therefore, when the artist brought the painting “Shat-Mountain (Elbrus)” (1884) to St. Petersburg, many took the panorama of the Caucasus Range depicted there as a figment of the author’s imagination. Following Pushkin and Lermontov, Yaroshenko opened the beauty of the Caucasus for his compatriots, deservedly light hand criticism of Vladimir Stasov, nicknamed “portrait artist of the mountains.” And Nikolai Alexandrovich died in the summer of 1898, the day after he ran more than 10 kilometers from the Big Saddle Mountain, where he painted from life, to his house, fleeing the rain.

For my short life Yaroshenko created more than two thousand paintings, combining painting with service at a military factory.

At the beginning of the 20th century, a researcher of Russian art Alexander Benois called Yaroshenko the last pillar and celebrity to join the Wanderers camp. The critic noted that the name Yaroshenko should not be forgotten by descendants. The artist, not very technically skilled, who could not devote himself entirely to painting, vividly captured in his sketches and portraits the turbulent time of female students and students, youth eager for heroism and all kinds of “martyrs of the idea.”

In March 1962, through the efforts of the artist Vladimir Seklyutsky, the house-museum of N. A. Yaroshenko was opened at the White Villa. Today it is the only museum of its kind in the south of Russia, comparable in historical and cultural significance to Tolstoy’s Yasnaya Polyana and Repin Penates. The museum owns the entire territory of the estate; with the help of the museum staff, townspeople and sponsors, the buildings have been restored and an extensive collection has been collected. 108 items of Yaroshenko’s paintings and graphics, 170 works by Wanderers artists are stored here. The artist's house-museum remains the center cultural life region. Up to 20 thousand people visit it annually. And many of those who once visited the White Villa return to the museum again and again.

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Nikolai Aleksandrovich Yaroshenko was born on December 1 (December 13, new style) 1846 in Poltava. His father, Alexander Mikhailovich, was a military man who rose to the rank of major general. Mother, Lyubov Vasilievna, also came from an officer family. The boy's ability to draw appeared quite early, but did not in any way influence his father's decision to send him to school. military service. Our hero later recalled about the unbending character of Alexander Mikhailovich: “Honor and service to duty were for him a shrine, before which everything in life had to bow.”

Thus, in his tenth year, Nikolai was sent to the Poltava Cadet Corps. Despite the fact that this institution was located near his home, the life of “cadet Yaroshenka” differed little from the life of his comrades brought from distant districts. The same barracks life. Unless they could visit their parents more often.

In the cadet corps, the boy did not give up drawing. And the few drawings that have survived from this time allow us to conclude that he made considerable progress. The future artist was assiduous and diligent in other sciences, therefore, having graduated from the corps in 1863, he entered the Pavlovsk Military School in St. Petersburg without any difficulties. Soon he was transferred to the Mikhailovsky Artillery School, where he was also among the first students.

Yaroshenko, however, still did not give up his studies in the “arts” at this time. At first he studied with A.M. Volkov, and a little later he entered evening classes at the Drawing School of the Society for the Encouragement of the Arts, where Ivan Nikolaevich Kramskoy became his mentor. In 1867, simultaneously with his “entry” into the Mikhailovsky Artillery Academy, Yaroshenko began to attend the Academy of Arts as a volunteer.

It should be noted that the young artist “did not devote himself entirely” to art not only for fear of violating the will of his father. Possessing an exalted soul, he was at the same time a very pragmatic young man and understood perfectly well that a successful debut in the painting field does not guarantee success. He could not count on financial support from his family. On the contrary, he foresaw that in the near future he himself would have to “cherish the old age” of his parents. Our hero, however, did not want to advance in his career at the expense of art. His wife recalled: “Nikolai Alexandrovich refused the rank of colonel for five years, because with this rank he was offered positions that did not give him the opportunity to paint…”

Portrait of Maria Pavlovna Yaroshenko. 1875
Portrait of Maria Pavlovna Yaroshenko, the artist’s wife. 1880s
Probably, if Yaroshenko had been a little bolder (and not even so much bolder as “more reckless”), then by the end of the 1860s art critics would have started talking about him in full voice. But combining military service with painting was not so easy, and the first noteworthy “attempts of the brush” by Yaroshenko date back only to 1874. This year generally became a turning point in the artist’s life. At the beginning of the summer, he married Maria Pavlovna Navrotina (by the way, a former student), then spent a month at Kramskoy’s dacha, and after that he went to the Caucasus. But - in order.

Shat-mountain (Elbrus). 1884
Canvas, oil. 70 x 159 cm. Memorial museum-estate of the artist N.A. Yaroshenko
The summer of 1874 turned out to be unkind. Kramskoy recalled that hardly ten sunny days could be counted for the entire season. The rain poured down like buckets, and Yaroshenko’s young wife must have spent many weary hours at Kramskoy’s damp dacha (the stove was heated every day), waiting for her husband, then a guard captain, to return from service. Yaroshenko was given leave at the end of the summer, but in the meantime he had to travel to St. Petersburg almost every day from the Siverskaya station of the Warsaw railway.

The month spent on Siverskaya played a role big role in bringing together the inhabitants of the dacha (Yaroshenko had known Kramskoy for a long time, but this was the first time he had been his guest for such a “long time”). On August 26, after the young painter and his wife had left for the Caucasus (via Little Russia to see his parents), Ivan Nikolaevich wrote to the itinerant Konstantin Savitsky: “Nikolai Alexandrovich Yaroshenko lived with me here for one month; You know, officer, he left for a month and a half already Kiev, and the guy is good." If not for this letter, we might not have paid attention to the very fact that Yaroshenko was visiting Kramskoy. It must be said that our hero, being a straightforward and honest person, at the same time was not too inclined to talk about the details of his life. Thus, it is known that he burned all letters that were written to him, and asked that his addressees do the same in relation to his correspondence. Due to this “installation,” we have practically no epistolary evidence of Yaroshenko’s life - and yet the letters, coupled with diaries, are the most valuable “human documents” that make it possible to accurately restore not only the biography of the person who wrote them, but also the atmosphere of the era itself. Alas, in the case of Yaroshenko we are practically deprived of such an opportunity.

The artist's correspondents, with rare exceptions, followed his will, destroying the letters they received. But those that have survived are of considerable interest. Thus, Yaroshenko’s letter, preserved by the economical Pavel Mikhailovich Tretyakov, is extremely “instructive”. In it, the master explains his view of the relationship between the painter and the “economic part” of his craft. “In my positive conviction,” he writes, “an artist should not deviate from the price once set, even if, having mistakenly set a price too high, he risks not selling his painting at all. I will not burden your attention with the exposition reasons why I formed such a conviction - I will only add that, before settling on a certain price, I polled the opinions of all the artists I knew and finally set prices - the lowest of those that were announced to me." The artist’s “dispositions”, written by him to those who accompanied the next traveling exhibition, are even more categorical and military-clear in tone: “From the day of the opening in Poltava, you will hold the exhibition there for 14 days; you will move to Elisavet-grad and will also hold the exhibition there 14 days; from there you will go to Chisinau and stay there with the exhibition for so long as to open the exhibition in Odessa between December 1 and 10. By the time you arrive in Odessa, I will inform you of the further route...” Many of the participants of the Partnership of Traveling Art Exhibitions (TPHV) recalled Yaroshenko’s “strength of character” and “a certain despotism” inherent in him...

Portrait of Vera Glebovna Uspenskaya ~ Portrait of G.I. Uspensky. 1884

Portrait of the artist Ivan Nikolaevich Kramskoy. 1874
Portrait of actress Pelageya Antipyevna Strepetova. 1884

Portrait of D.I. Mendeleev. 1885
Portrait of Mikhail Evgrafovich Saltykov-Shchedrin. 1886

Portrait of M.A. Pleshcheeva. 1887 ~ Portrait of I.A. Goncharova. 1888

Portrait of the artist Nikolai Nikolaevich Ge. 1890
Portrait of the philosopher and poet Vladimir Sergeevich Solovyov. 1895

Portrait of Nikolai Nikolaevich Obruchev. 1898
Portrait of S.V. Panina. 1892

Portrait of a man. 1875 ~ Portrait of a woman. 1880

Old man with a snuff box. 1873 ~ Portrait of a young man. 1886
However, this Yaroshenko “despotism”, which manifested itself in full after he took the place of the “leader” of the Wanderers after Kramskoy’s death, served, in the opinion of the overwhelming number of his comrades, to strengthen the “moral and ideological foundations of the Partnership”, and therefore was perceived favorably by them . But a certain patronizing and benevolent despotism in the master’s treatment of his “comrades in the shop” still took place. “It seems to me,” he writes to N. Kasatkin, inviting him to his place in Kislovodsk (he purchased a house here in 1885), “that you are wasting your summer time in the cities, instead of having a good rest and strengthening yourself physically and mentally somewhere- somewhere in the lap of nature."

But not only Yaroshenko’s Kislovodsk house 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 chaos reigned in the apartment, making it impossible to work. However, Nikolai Alexandrovich, according to his relatives, was more amused than saddened by this.

In 1892, the master retired (having risen, like his father, to the rank of major general). Two years earlier, doctors suspected he had consumption, and Yaroshenko realized that “it was time to get ready.” He even made a will, according to which all his paintings remained to Maria Pavlovna. When she, who always wanted justice in everything, tried to object that part of them should be transferred to his relatives, the artist sternly objected: “It was not their life, but ours.” On June 25 (July 7, new style), 1898, Yaroshenko died in Kislovodsk. But not from consumption, but from cardiac paralysis, the condition of which the doctors, concerned about the development of the process in the lungs, did not pay attention to.

on Yandex.Photos. Kislovodsk. Yaroshenko's grave on the territory of the Temple

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St. Nicholas Cathedral in Kislovodsk was consecrated on May 22, 2008.
First Orthodox Church appeared in the resort city along with its foundation. At the end of 1888 main temple The city was consecrated in honor of one of the most revered saints - St. Nicholas the Wonderworker.
In 1900, next to the cathedral, in the same architectural style, a five-tier bell tower was built.
In 1936 the cathedral was blown up. On September 12, 1993, on the day of memory of the Holy Blessed Grand Duke Alexander Nevsky, the foundation stone of the cathedral took place. Surviving photographs were used as a basis in order to embody the previous appearance as much as possible.
The height of the temple is 54 meters. The cathedral can accommodate 3,500 people.

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Historical reference. In 1792, at the Sour Spring, as the Narzan spring was then called, a pentagonal redoubt was built on a hill between the Olkhovka and Berezovka rivers. The commander of the Caucasian Line troops, General Irakli Ivanovich Markov, spent the whole summer with his family at the Narzan spring in 1798. His retinue included adjutant Rebrov. By order of General Markov, a stone cross made of gray sandstone was installed on the Mount of the Holy Spirit - a symbol Orthodox faith, which the Russians brought to the Caucasus, and the mountain began to be called Krestovaya.
With the increase in population and the emergence of a settlement, the need arose for the construction of a parish church. Giuseppe and Johann Bernardazzi, the main organizers of the Cavalry Mineral Waters, were invited to create the project.

By order of the commander of the Caucasian Line troops, General A.P. Ermolov, one of the brothers went to the mountains to search for Orthodox churches ancient Alans. He created an album of sketches of temples, gave their descriptions and made measurements. All this data was used in the construction of churches in the Caucasian Mineral Waters. In 1824, the Bernardazzi brothers created a project for a temple in Kislovodsk. In 1826-27 The church was built from wood, without the use of nails, with donations from Slobozhanka Tolmacheva. The new temple, like the former fortress church, was consecrated by Archimandrite Tobias in honor of St. Nicholas the Wonderworker..."

"...The St. Nicholas Church began to be called the “White Cathedral.” Construction was completed in 1888, consecration took place on October 22 (November 4 according to the present day). The main altar was dedicated to St. Nicholas, the southern chapel - to the Archangel of God Michael, the northern - to the holy noble prince Alexander Nevsky.

The central iconostasis was tall, made of wood, and featured elaborate carvings. St. Nicholas Cathedral repeated the traditional design of a five-domed temple, developed in the 12th century by the architects of the Assumption Cathedral in Vladimir, but differed from ancient Russian churches in that the four small drums were decorative, not illuminated. The cathedral had excellent acoustics and was designed for 500 people. At the level of the second tier, extensive choirs were built, the central dome and drum were richly decorated with paintings. The majestic temple was painted famous artists Russia - Vasnetsov brothers, V.D. Polenov, N.A. Yaroshenko, M.V. Nesterov, who got married in this cathedral. Great sons of Russia F.I. Shalyapin and L.V. Sobinov sang in the choir of St. Nicholas Cathedral. "
!
http://www.pravoslaviekmv.ru/index.php?page=66&art=114

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on Yandex.Photos. Chaliapin's dacha

on Yandex.Photos. Types of Kislovodsk. 12/10/2007

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Anton Ivanovich Tvalchrelidze (1858-1930) was a very famous person in his time in the Stavropol region, a former inspector of public schools in the region. Having visited all corners of the province, he compiled a reference book about the Stavropol region, a kind of encyclopedia of local history knowledge with almost 700 pages. He was married to the daughter of the Terek Cossack Timofey Astakhov, no less famous for his military deeds (much can and should be said about him separately), who owned the plot of land on which Tvalchrelidze built this dacha.
In 1915, the building was purchased from Tvalchrelidze for his sick wife (daughter of N.I. Prokhorov, owner of the Trekhgornaya Manufactory) N.V. Lezhnev, owner of the Elansky stud farm in the Saratov region.
As for Kshesinskaya, it is known that she lived in Kislovodsk for a very short time in 1918, but whether this mansion was her place of residence here is not known with certainty.

on Yandex.Photos. Narzan baths

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The main Narzan baths are located near the Narzan gallery. It was not by chance that they received the name “Main”: back in the late 19th century, Skalkovsky’s baths were built in Kislovodsk - a wooden one-story structure, which, of course, could not be compared with the new one either in appearance or in capacity beautiful building baths, which were called the Main Narzan Baths.
The building features a richly decorated façade using architecture primarily characteristic of northern India.
The baths were built in 1901-1903 for the centenary of the resort. A memorial plaque reminds of the author and the time of construction: “Designed and built by engineer A.N. Klepinin. 1901-1903.”

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The building of the Narzan Gallery is located in the center of Kislovodsk; here is also the source of Narzan, which existed during the time of M. Yu. Lermontov’s stay in Kislovodsk.
Previously, the gallery was called Vorontsovskaya and was intended for walking in bad weather after drinking Narzan.
Now here is the main drinking center (there are 16 pump rooms), where three varieties of narzan are dispensed - general, dolomite and sulfate

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In 1895, construction of the Kursaal was completed. Nearby, in the same year, the construction of a light openwork station building was completed, which, together with the Kurhaus, represents, as it were, one architectural ensemble. These buildings are beautiful and are a monument of ancient architecture. At one time, the Russian writer D.N. Mamin-Sibiryak wrote about Kislovodsk: “A wonderful city, spreading its streets along the steep banks of the river. General form was very beautiful, and the magnificent station could decorate any capital.”

on Yandex.Photos. House-museum of the artist Yaroshenko

on Yandex.Photos (c) vik6169 (Zheleznogorsk, Kursk region)
The museum was founded in 1959. It is located on the territory of an estate with a garden, park and buildings, including four memorial buildings that belonged to the N.A. Yaroshenko family from 1885 to 1915. Here the great Russian artist lived his last years life. The estate was widely known as the “White Villa.” The biography of the artist himself is also very unusual. He was a major general of artillery and at the same time led the Association of Traveling Art Exhibitions. Famous Russian artists gathered on the territory of his estate on Saturdays: A.I. Kuindzhi, A.M. Vasnetsov, I.E. Repin, L.N. Tolstoy, F.I. Chaliapin. These meetings were called “Yaroshenko Saturdays.”

I have the brightest memories associated with Kislovodsk about a summer holiday with my parents in 1958
- Kislovodsk is the pearl of KMD. Now everything there is being improved and landscaped, put in order. And if they dig a tunnel in the mountains, it will be half an hour’s drive to the sea

ABOUT! It looks like another photo excursion awaits us with the appearance of a new album ;-) I’m already ready to watch and read :-)
- I didn’t think last year’s photos were entirely successful; the weather was bad. But then I decided to put it together for an album

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The estate was an established complex of residential, service and outbuildings and occupied one of best places in Kislovodskaya Slobodka - a suburb near the old fortress. The location of the estate was very successful; it occupied the edge of the upper terrace above the Olkhovka River and Olkhovaya Balka, where outbuildings and Orchard, which adjoined the Resort Park.
From the side of the settlement, the estate was limited by Nizhnyaya Olkhovka Street (since 1903 - Dondukovskaya, renamed Yaroshenko Street in 1918), on the left was the estate of Colonel Aglintsev, and then there was the state land of the Slobodsky Administration building, on the right was the estate of landowner Bondarev, on the other side the estate was facing the Kislovodsk resort park.
This part of the city began to be settled in the late 1830s and early 1840s. mainly soldiers and officers of the fortress garrison, and after the abolition of the Kislovodsk fortress according to the Highest Order of 1861 (when the suburb was transferred to the status of a Cossack Sloboda), the existing buildings along with the land went into the private ownership of householders.

Clean, cozy. As it should be in an estate. thanks for detailed description. I haven’t been there, so I’ll travel with you!
- In three buildings there are exhibitions of Yaroshenko himself, his contemporaries and new paintings.

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In his memoirs “Old Days” M.V. Nesterov, who first visited Kislovodsk in 1890, wrote: “Near the cathedral, two steps away, was Yaroshenko’s estate. Maria Pavlovna bought it by chance for next to nothing, gradually settled down there, replacing the white huts with small houses, in which Yaroshenko’s acquaintances began to live in the summer: V.G. Chertkov with his family, the extended family of the historian S.M. Solovyova. The Yaroshenkos themselves settled in a nearby house, where Nikolai Alexandrovich also had a small workshop. There was a balcony adjacent to the house, very spacious; on it, like on the balcony of Doctor Sredin in Yalta, there were constantly visitors. Nikolai Alexandrovich decided to paint the balcony in the Pompeian style according to the arts; he was helped in this by the daughter of the historian Solovyov, Poliksena Sergeevna (Allegro).

Spacious terrace. Is this a balcony?
- Yes. They call it a balcony.

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Outbuilding No. 1. This building was erected in 1888 on the site of the service building of the previous owners and is the first construction carried out by Yaroshenko in the process of remodeling and improving the estate. It was built using the same technology as Main house(wooden, plastered). Originality internal layout suggests that initially this building was assigned the role of the main manor house with a front and residential part, as well as an internal service corridor for servants. However, poor lighting forced the owners to move to the “white villa”. It is characteristic that at the same time they added two rooms to the new Main House of the same size that were built for living in the first house, which was later turned into a guest house (in the 1890s, according to M.V. Nesterov, “a large family of the historian Solovyov").

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Outbuilding No. 2. The building of the second wing was inherited by Yaroshenko from the old estate. What is noteworthy, first of all, is the construction equipment in which the outbuilding is built: its local name is “turluk”. The large, eight-room building has adobe walls supported by a frame of posts and beams (the spaces between the posts are woven with talik, filled with clay and coated with lime). Initially, the building had the traditional appearance of a white hut under a thatched roof. Around 1890, during the improvement of the estate, the outbuilding received a new appearance: the mud walls were plastered, the thatched roof was replaced with an iron roof, and a metal lattice ridge was installed along the ridge.

All estate museums lack a “living spirit.” A?
- The owner. That's for sure.

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Nikolai Aleksandrovich Yaroshenko was born in 1846 in Poltava in the family of a retired major general. Fulfilling his father's will, he graduated with honors from the military academy and was assigned to the St. Petersburg Cartridge Plant. However, service did not interfere to young Nikolai for four years, attend classes at the Academy of Arts in the evenings. After serving at the plant for more than 20 years, Yaroshenko retired with the rank of major general and devoted himself entirely to painting.
Most famous paintings Yaroshenko - “Stoker”, “Prisoner”, “Life Everywhere”, “Student”, “Sister of Mercy”, “Student”, “Old and Young”, “Reasons Unknown” and “Nevsky Prospect at Night”.
In the summer of 1898, as in all previous years, a couple from St. Petersburg came to Kislovodsk to visit their dacha. During one of his walks in his favorite park, Nikolai Aleksandrovich Yaroshenko got caught in the rain and began to quickly descend from the mountains. In the evening he felt unwell.
June 25 morning heart wonderful person stopped, interrupting the life of Yaroshenko sitting at his easel.

Ancient stones...How much they have seen in their lifetime.
- This road was used by the hosts and guests to go down to the lower park of the estate and through the city park to drink Narzan.

It’s clear :-) Now the continuation of the story has appeared :-) Interesting.
- You just got to the installation. By the way, there is an interesting fact: Boris Savenkov was Yaroshenko’s nephew.

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There was once a “Mendeleev’s” outbuilding here, back in the years civil war disassembled for fuel. There was a myth according to which a great chemist used to work in this outbuilding, surrounded by flasks and retorts. Later it became clear that this could not have happened, since Mendeleev visited Yaroshenko in Kislovodsk only once, while passing through Baku, where the artist went with him three days later. In addition, according to the staff of the Museum-Apartment of D. Mendeleev in St. Petersburg, in last decades the scientist was engaged in life theoretical work, and he did not need chemical glassware. The name of the outbuilding, as we now think, was most likely associated with the name of the chemist’s widow, who actually stayed with L.P. Yaroshenko.

Nice and modest architecture:-) Wonderful story.
- Thank you. I'll finish this short story with this photo.

"Wildflowers ". 1889 (c) N.A. Yaroshenko
P.S. Artist N. A. Yaroshenko (c) allerleiten . 26.05.2010