Jan Brueghel the Elder, Velvet Brussels, 1568 - Antwerp, 1625
The son of the great Dutch painter Pieter Bruegel the Elder (Muzhitsky), brother of the artist Pieter Bruegel the Younger (Hell). Worked in Naples, Rome and Milan, fulfilling orders famous philanthropist Cardinal Federico Borromeo, in Prague, in Nuremberg. From 1596 he worked in Antwerp. He continued to live in this city even after receiving the honorary position of court painter to Albert and Isabella, the rulers of the Southern Netherlands, in 1609. Author of landscapes, still lifes, images art galleries and cabinets of curiosities, paintings on religious, mythological and allegorical subjects. One of the creators and the most prominent representative of an extremely refined, refined style miniature painting, which enjoyed constant success among contemporary artists and subsequent generations of collectors. He actively collaborated with other Antwerp artists, depicting landscapes and still life elements in their works (Rubens, Hendrik van Balen, Hendrik de Klerk, Sebastian Vranx, the Franken family of artists). Jan Brueghel the Elder died in 1625 from cholera, and his three children (Peter, Elisabeth and Maria) fell victim to this disease along with him.
Jan Brueghel the Elder “Velvet” “Bouquet of irises, tulips, roses, daffodils and hazel grouse in a clay vase.”...wood (oak) oil
Unlike the works of his brother Pieter Bruegel the Younger, the works of Jan Bruegel the Velvet, one of the creators and leading masters of “armchair” painting, were addressed to connoisseurs of fine painting skills. The magnificent decorative qualities of his paintings can be appreciated by the example of K. Mauerhaus’s “Bouquet of irises, tulips, roses, daffodils and hazel grouse in a clay vase,” which is a somewhat enlarged author’s repetition of the famous “Vienna Bouquet of Irises” (approx. 1607, Vienna, Kunsthistorisches Museum) - one of the artist’s first works in the genre of floral still life. Thanks to his patron, the Archduchess, the artist had access to the royal greenhouses, where the rarest plants were grown. He always painted from life and waited for many months for this or that plant to bloom. Flowers in a bouquet are from different seasons, but in nature they never bloom together. There are also withered buds - symbols of frailty. “He began to paint such still lifes when he was in Milan in the service of Cardinal Federico Borromeo,” said Sadkov. - In letters to his client, he explained that he could not paint still lifes quickly, because he depicted flowers that bloom in different time years and in real life they cannot be seen together.”
Jan Brueghel the Elder "Velvet" "Monkey Feast (Pranks of the Monkeys)" 1621 oil, copper,
“The Monkey Feast” - one of the later works of Bruegel the Velvet - belongs to the images of monkeys engaged in human activities popular in Flanders, and Jan Bruegel the Velvet, along with Franc Franken II, was one of the first to create such paintings, combining condemnation of human vices with humorous entertainment .
Hendrik van Balen Antwerp, 1575 - Antwerp, 1632
Professional art education received in the workshop of the famous Antwerp historical painter Adam van Noort, from whom Peter Paul Rubens and Jacob Jordaens also studied. At the age of eighteen, in 1593, he became master of the guild of St. Luke in Antwerp, in 1609-1610 - its dean. In his youth he traveled through Italy, in Venice he came into close contact with someone who worked there German artist Hans Rottenhammer. The latter instilled in the artist an interest in the genre of small, executed with the greatest care on copper or boards, “cabinet” paintings on historical, mythological and allegorical subjects. After returning from Italy, from 1603, he worked mainly in Antwerp, where he headed a large successful workshop. Among Hendrik van Balen's many students, the most famous are Anthony van Dyck and Frans Snyders, as well as the artist's son Jan van Balen. Just like Jos de Momper the Younger, the artist was not a relative of the Bruegel family, but actively collaborated with many masters, including Jan Brueghel the Elder, Jos de Momper, Frans II Franken, Sebastian Vranckx, Jan Wildens, Lucas van Juden and Jan Tielens.
Hendrik van Balen the Elder and Jan Brueghel the Elder “Velvet” The Finding of Moses
One of the most popular Old Testament subjects in painting. Saving baby Moses from the Egyptian pharaoh, who ordered the death of all Jewish male children, his mother put him in a basket and set him adrift. Pharaoh's daughter, walking in the garden, heard crying in the reeds near the shore. The basket with Moses was pulled ashore, and Pharaoh’s daughter, seeing the baby, decided to take him in to raise her.
Jan Brueghel the Younger Antwerp, 1601 - Antwerp, 1678
Son and student of the famous Antwerp painter Jan Brueghel the Elder (Velvet), grandson of Pieter Bruegel Muzhitsky. At the age of ten he began training in his father's workshop. In 1622, following the example of his father and grandfather, he headed to Italy, worked in Milan, fulfilling orders from Cardinal Federico Borromeo, and also in Palermo, where he met his childhood friend, Anthony van Dyck. He returned to Antwerp in 1625 due to the death of his father and the need to head the family workshop. From 1625 to 1651, Jan Brueghel the Younger was the head of a large workshop, in which, in addition to repeating the works of Bruegel the Elder, he created many paintings in his manner. He worked mainly in Antwerp. In the early 1650s he worked for some time in Paris and Vienna. Author of landscapes, genre and historical scenes, still lifes. He was a co-author of works by many Antwerp masters, including Rubens. He had eleven children, five of them - Jan Peter, Abraham, Philips, Ferdinand and Jan Baptist - were also artists and took part in the activities of the family workshop. The level of painting skill of Jan Brueghel the Younger was so high that for several generations of modern researchers it was an unusually difficult problem to distinguish between the authorship of himself and his father, Jan Brueghel the Elder (Velvet).
Jan Brueghel the Younger "Coastal landscape with figures on the shore" copper, oil.
Jan Brueghel the Younger “Street in a Village” wood (oak) oil
Jan Brueghel the YoungerJan Brueghel the Younger (1601-1678) "Large bouquet of lilies, irises, tulips, orchids and peonies in a vase, decorated with images of Amphitrite and Ceres" wood (oak) oil.
The son of Bruegel the Velvet, Jan Brueghel the Younger, followed in his father’s footsteps in terms of detail and love for depicting beautiful flowers. One of the central paintings of the exhibition - “A large bouquet of lilies, irises, tulips, orchids and peonies in a vase decorated with images of Amphitrite and Ceres” - is a real decoration and symbol of the exhibition. In nature, all the flowers in such a bouquet never bloom at the same time, because they are from “different seasons.” And only in the painting of Jan Brueghel the Younger all the beauty of nature is collected into a single composition, which is complemented by withered buds as a symbol of the frailty of the world, and various insects flocking to the sweet aroma of flowers. The painting is considered the largest work by the master. An abundance of several varieties of roses, primroses, cornflowers, daffodils and other white, red and blue flowers made it possible for 17th-century viewers to look for the symbolism of the images. Flowers hint at the fact that the beauty of the material world is transitory, and a masterfully painted ceramic vase hints at the frailty of all earthly things. The vase is decorated with oval medallions with figures of the reclining Amphitrite and Ceres, the pagan goddesses of Water and Earth, two of the most important substances necessary for the life of flowers.
Jan Brueghel the Younger “Landscape with travelers on the road near a forest” wood (oak) oil.
Jan Brueghel the Younger. “Allegory of Taste” copper, oil
The painting "Allegory of Taste" by Jan Brueghel the Younger is replete with many allegorical details. A woman sits at a table laden with food with a cup of wine; she is treated to a horned satyr. Nearby there is a large dish of oysters. Oysters were considered a delicacy at that time, like wine, stimulating sexual potency.
Jan Brueghel the Younger. “Allegory of the Four Elements” Together with Hendrik van Balen the Elder wood (oak) oil.
“Coastal landscape with figures on the shore”, “Street in a village”, “Large bouquet of lilies, irises, tulips, orchids and peonies in a vase decorated with images of Amphitrite and Ceres” have been on the market for quite a long time, but have not yet been published in scientific literature.
Jos (Iosse, Iodocus) de Momper the Younger Antwerp, 1564 - Antwerp, 1635
Son and student of the artist Bartholomeus de Momper. In 1581 he was admitted to the Antwerp Guild of Painters, and in 1611 he became its dean. He worked mainly in Antwerp. The work of this master is one of the most interesting pages in the history of the old Western European landscape. In his works one can see a generalization of the experience of landscape painters of the 16th century, and at the same time he outlined further paths development of this genre in Flemish art. The artist was not a relative of anyone from the Bruegel family, but he can safely be given the title of follower of Pieter Bruegel the Elder. Like the master, Jos de Momper the Younger at the beginning of his career came into contact with the Italianizing tradition in Dutch art, but rethought it, creating individual style. Finally, the uniqueness of the artist’s painting technique, the brightness and freshness of the colors, the transparency of the shadows and the fluidity of the brushstroke allow us to consider the work of Jos de Momper the Younger as a significant phenomenon in the prehistory of European plein air and, in a broader sense, impressionism.
Jos De Momper the Younger and Jan Brueghel the Younger "Rural landscape with a well" wood (oak) oil.
Jos De Momper the Younger “Village street with a stone bridge over the river” wood (oak) oil.
Jan van Kessel the Elder (Antwerp, 1626 - Antwerp, 1679)
The son of the famous Antwerp painter Hieronymus van Kessel and Paschasia Bruegel (daughter of Jan Velkhatny), nephew of David Teniers the Younger. Professional education received in Antwerp in the workshop of his uncle Jan Brueghel the Younger and Simon de Vos. In 1644 he was admitted to the Antwerp Guild of Painters. He worked mainly in Antwerp, fulfilling numerous orders from the Spanish court. The artist was one of the most prominent representatives animal genre, which was formed in Flemish painting in the first half of the 17th century. He inherited his grandfather Jan Brueghel the Velvet's penchant for miniature painting on copper plates or small oak tablets. And with their help he created chamber miniatures with images of animals, fish, sea creatures, birds and insects. At the exhibition it was presented with four animalistic scenes based on Aesop's fables on small copper plates.
Jan van Kessel the Elder "Wolf, deer and lamb" copper, oil.
Jan van Kessel the Elder “Lion and Boar” copper, oil.
“In the summer, when everyone was tormented by thirst from the heat, a lion and a boar came to a small spring to drink and argued about which of them should drink first. And they became so incensed that it came to a fight to the death. But then they turned their heads to catch their breath, and saw the kites, who were waiting to see which of them would fall in order to devour him. Then, ending their discord, they said: “It is better for us to become friends than food for kites and ravens.” (It is better to stop bad strife and strife, because they all lead to a dangerous end.)
_Jan van Kessel the Elder "The Bear and the Bees" copper, oil.
Jan van Kessel the Elder “Sick Roe Deer” copper, oil.
The exhibition is complemented by paintings by the Bruegel family from the collection of the Pushkin Museum, which entered the museum in different years from Moscow private collections.
Pieter Bruegel (the Younger) “Winter landscape with a bird trap” 1620s wood, oil Moscow, Pushkin State Museum of Fine Arts
“Winter Landscape with a Bird Trap” is one of the most famous works Pieter Bruegel the Elder. There are 127 copies in the world, 45 of them are copyrighted. The image is based on a view of a real area, presumably the Brabant village of Sainte-Pede-Anne near Diben. Residents of a snow-covered village are real inhabitants of a habitable corner. At the same time, Bruegel’s landscape still strives to speak about the universe as a whole. By the will of the artist, the village on the river bank is included in a panoramic view with wide distances and a view of the city on the horizon. The image also retains an edifying subtext: snares are ready to catch unwary birds, and careless people on ice, on which it is dangerous to walk, can fall into an ice hole, to which none of them pays attention.
Pieter Bruegel the Younger “Spring. Work in the garden" Moscow, Pushkin State Museum of Fine Arts
“The Baptism of Christ” by Hendrik van Balen and Jan Brueghel the Younger Moscow, Pushkin State Museum of Fine Arts
A rare painting by Hendrik van Balen (1575-1632) and Jan Brueghel the Younger (1601-1678) “The Baptism of Christ” has been added to the art collection State Museum Fine Arts named after Pushkin in December 2012. Information about the acquisition of the canvas varies. According to some sources, the painting was bought from a private individual with money allocated to the museum by the Ministry of Culture. Other sources claim that the artwork was donated to the museum. The masterpiece “The Baptism of Christ” dates back to the second half of 1620. Contemporaries of Balen and Bruegel appreciated the painting so highly that Hendrik van Balen's apprentices made a copy of the Baptism of Christ, which is currently in the collections of the Royal Museum of Fine Arts in Antwerp. The painting, based on a famous Christian subject, is one of the largest (141 cm x 202 cm) and ambitious works in creative heritage painters. A careful study of it artistic features allows us to see the difference in the interpretation of figures and elements of landscape and still life, which indicates the participation of two masters in its creation. This approach to creating works of art was quite common in the creative practice of Flemish and Dutch painters of the 17th century, working in conditions of fierce market competition. Specialists in the “historical” genre often invited landscape painters and still life masters as co-authors. In the painting “The Baptism of Christ,” as in a number of other works by Hendrik van Balen, the images of still life elements in the foreground were painted by the famous Antwerp painter Jan Brueghel the Younger.
Short biography:
Jan Brueghel the Younger- great Dutch artist. Representative of the Bruegel dynasty of artists. He is the grandson of Pieter Bruegel the Elder and the son of Jan Bruegel the Elder. Although it is not so famous painter, like Pieter Bruegel the Elder, but still occupies an honorable and very high place in the history of world painting. His paintings are in the most famous museums peace and inspire many contemporary artists for creativity.
Jan Brueghel the Younger born 1601 - died 1678. Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout its creative path he created paintings in similar style. Together with his brother Ambrosius painted landscapes, still lifes, allegorical compositions and other works, complete small parts. He copied his father's works and sold them under his signature. The works of Ian the Younger are distinguished from those of Ian the Elder by their slightly lower quality and illumination.
Jan was traveling through Italy (1590) when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop.
Best works John the Younger - large landscapes. In his works there are still the same allegories, as if a continuation of the creativity of the whole family dynasty artists. His teacher was his own father, who in turn learned from his father. Because of this, the style of the paintings of all Bruegel artists is somewhat similar. They are distinguished only by each painter’s own handwriting. One can philosophize and say that the entire dynasty of artists was one artist, continuous for four generations, who from time to time changed the style of approach to the image, but always remained faithful to allegory and mythology.
"Paradise", ok. 1620, Berlin National Gallery
The art of Jan Brueghel the Younger was especially expressed in large canvases, where he could show all his skill. His approach to painting was very meticulous and precise. Art critics note the detailing of the smallest details, which makes the works incredibly rich. After the death of his father, he headed the Antwerp workshop, and later became dean of the Guild of St. Luke.
Jan Brueghel the Younger. “Allegory of the Four Elements” Together with Hendrik van Balen the Elder wood (oak) oil.
Jan Brueghel the Younger “Landscape with travelers on the road near a forest” wood (oak) oil.
Pieter Bruegel (the Younger) “Winter landscape with a bird trap” 1620s wood, oil Moscow, Pushkin State Museum of Fine Arts
Jan Brueghel the Younger “Landscape with travelers on the road near a forest” wood (oak) oil
Metropolitan Museum of Art: Jan Brueghel the Younger - Basket of Flowers
Basket of flowers
Bouquet of flowers in a vase
Bouquet of flowers in a wooden flowerpot
Still life with flowers
Bouquet of flowers in a vase
Flowers in a vase
Bouquet of Flowers in a Vase
Flowers in a stucco vase
Lilies, irises, tulips, roses, primroses and peonies in a vase decorated with figures of Ceres and Amphitrite
Flowers in a carved gilded vase (together with France II Franken)
We will talk about the 16th century artist of the Baroque era, a follower of the Flemish school of painting - Jan Brueghel the Younger. In the preface, I would like to note that in world history, including the history of art, continuity of generations has often been traced. From father to son, from grandfather to grandson, there is a chain through which the craft of versification, singing, and the ability to paint pictures was passed on. It seems that the next generation should cultivate and develop the acquired skills, surpassing the teachers, but fate does not always carry out the intended plans: sons do not become followers, but turn into imitators and copyists of more talented ancestors. A similar “joke” overtook the family of hereditary Bruegel painters, if we talk about the third generation of masters, represented by Jan Bruegel the Younger, the son of his namesake father.
Ian the Younger was not without talent, but for a long time was “in the shadow” of his father. There is so little information about the creative path of Bruegel’s son that it is impossible to trace his degree of ordeal and hard work on the path to fame. Jan Brueghel the Younger was born in Antwerp on September 13 in the first year of the 16th century. His family was large. After the death of Jan's mother, his father married for the second time. His new wife, Katharina van Marienburg, gave birth to eight children. Among his half-siblings, Jan Brueghel was the eldest, his father's first-born and his hope. Ian the Elder personally taught the boy together with his brother Ambrosius. At that time, Junior was 10 years old, and, due to his inexperience, young artist imitated his teacher. Like his father, Bruegel showed meticulousness to small details, decorating scenes with floral patterns and flowers (“Christmas”, “Madonna and Child in a Flower Garland”, “Madonna and Child and Little John the Baptist”, etc.).
Christmas
Madonna and Child in a Flower Garland
Madonna and Child with little John the Baptist
He was characterized by a childish quality in his paintings, the presence of bright spots of birds, fruits and draperies.
Bruegel the Younger's son was so carried away by imitation that his work was very difficult to distinguish from his father's. Perhaps due to the lack of demand on the painting market or for some other reason, Jan signed own paintings with his father's flourish and put it up for sale. However, critics note the lower quality of John the Younger's writing and the "timid" use of the palette (Paradise, Ceres, Sleeping Nymphs and Satyrs, Allegory of Air and Fire, etc.).
Sleeping nymphs and satyrs
Allegory of air and fire
At 23, Ian travels to Italy with his childhood friend Anthony van Dyck. The friends’ journey was short-lived due to the death of the artist’s father from “walking” cholera. After the departure of Jan the Elder, his studio remained, which was immediately headed by his son, Jan Brueghel. Along with the new mission, fame comes to Ian the Younger, and customers for the canvases appear from among the nobility and officials. The master’s paintings now have a different autograph; instead of “Brueghel” he signs “Breughel”.
Bruegel's coming of age culminated in his marriage to Anna-Maria Jenssens, daughter of A. Jenssens, in 1626 and his confirmation as dean of the Guild of St. Luke 4 years later. In parallel with the arrangement of everyday life, the artist arranged creative activity– painted landscapes, still lifes with an abundance of strange flowers and fruits, was the first to place animals in plots as heroes (“Allegory of War”, “Diana and the Nymphs after the Hunt”, “River Landscape with Birds”).
Jan Bruegel the Younger (Dutch. Jan Bruegel de Jonge, IPA: [ˈjɑn ˈbrøːɣəl]; September 13, 1601 - September 1, 1678) was a Dutch (Flemish) artist, a representative of the South Dutch (Flemish) dynasty of Bruegel artists, the grandson of Bruegel of Muzhitsky.
Mary Magdalene in a flower garland. 64x49. Private collection
Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout his career, he created paintings in a similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Ian the Younger are distinguished from those of Ian the Elder by their slightly lower quality and illumination.
Jan was traveling through Italy when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon achieved a significant position and became dean of the Guild of St. Luke (1630). The best works of Ian the Younger are large landscapes.
Madonna and Child in a Flower Garland. 81x55. Private collection
Holy Family surrounded by flowers. Hermitage
Christmas. 63x49. Private collection
Madonna and Child in a flower wreath. 29x26. Private collection
Madonna and Child in a Flower Garland. 105x80. Private collection
Madonna and Child in a Flower Garland. 34x28. Private collection
The Holy Family with John the Baptist in a Flower Garland (with Hendrik van Balen). 163x137. Private collection
Madonna and Child with the Holy Spirit surrounded by a wreath of flowers. 64x52. Private collection
Annunciation in a flower garland. 22x17. Private collection
The Holy Family with John the Baptist framed in the form of a wreath of flowers (co-authored with Pieter van Avont). 55x45. Private collection
Madonna and Child in a Floral Cartouche. 74x53. Private collection
to the family in a flower garland. 115x95. Private collection
Madonna and Child in a Floral Cartouche (with Pieter van Avont). 97x74. Private collection
Peter Paul Rubens (flowers - Jan I Bruegel), Madonna and Child in a garland of flowers. 1621
Peter Paul Rubens (together with Jan Bruegel I). Madonna and Child in a Flower Garland
Bouquet of flowers in a vase. 24x18. Private collection
Flower still life. 30x20. Private collection
Bouquet of flowers in a vase. 56x45. Private collection
Flowers in a vase. 70x48. Private collection
Bowl with wreath. 41x33. Private collection
Still life with flowers. 54x82. Private collection
Still life with flowers. 48x65. Private collection
Basket of flowers. 53x80. Private collection
Basket of flowers. 47x68. Metropolitan
) - Dutch (Flemish) artist, representative of the southern Dutch (Flemish) dynasty of Bruegel artists, grandson of Bruegel Muzhitsky.
Biography
Jan was the eldest child in the family. Two years after his birth, his mother died and his father married Katharina van Marienburg, with whom he had 8 children. Being the first-born, Jan continued his father's dynasty and became an artist. At the age of ten he was apprenticed to his father. Throughout his career, he created paintings in a similar style. Together with his brother Ambrosius, he painted landscapes, still lifes, allegorical compositions and other works full of small details. He copied his father's works and sold them under his signature. The works of Ian the Younger are distinguished from those of Ian the Elder by their slightly lower quality and illumination.
Jan was traveling through Italy (1625) when he received news of his father's death from cholera. He interrupted the voyage and immediately returned to head the Antwerp workshop. He soon achieved a significant position and became dean of the Guild of St. Luke (). The best works of Ian the Younger are large landscapes.
Genealogy
| Pieter Bruegel Senior |
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| Pieter Bruegel Jr | Jan Brueghel Senior | Marie Bruegel | |||||||||||||||||||||||||||||
| Ambrosius Bruegel | Jan Brueghel Jr | Anna Bruegel | David Teniers Jr |
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| Abraham Bruegel | |||||||||||||||||||||||||||||||
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- // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
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Excerpt characterizing Bruegel, Jan (the Younger)
He himself imagined himself to be of enormous stature, a powerful man who hurled cannonballs at the French with both hands.- Well, Matvevna, mother, don’t give it away! - he said, moving away from the gun, when an alien, unfamiliar voice was heard above his head:
- Captain Tushin! Captain!
Tushin looked around in fear. It was the staff officer who kicked him out of Grunt. He shouted to him in a breathless voice:
- What, are you crazy? You were ordered to retreat twice, and you...
“Well, why did they give me this?...” Tushin thought to himself, looking at the boss with fear.
“I... nothing...” he said, putting two fingers to the visor. - I…
But the colonel did not say everything he wanted. A cannonball flying close caused him to dive and bend over on his horse. He fell silent and was just about to say something else when another core stopped him. He turned his horse and galloped away.
- Retreat! Everyone retreat! – he shouted from afar. The soldiers laughed. A minute later the adjutant arrived with the same order.
It was Prince Andrei. The first thing he saw, riding out into the space occupied by Tushin’s guns, was an unharnessed horse with a broken leg, neighing near the harnessed horses. Blood flowed from her leg like from a key. Between the limbers lay several dead. One cannonball after another flew over him as he approached, and he felt a nervous shiver run down his spine. But the very thought that he was afraid raised him up again. “I cannot be afraid,” he thought and slowly dismounted from his horse between the guns. He gave the order and did not leave the battery. He decided that he would remove the guns from the position with him and withdraw them. Together with Tushin, walking over the bodies and under terrible fire from the French, he began cleaning up the guns.
“And then the authorities came just now, so they rather tore,” the fireworksman said to Prince Andrei, “not like your honor.”
Prince Andrei did not say anything to Tushin. They were both so busy that it seemed they didn’t even see each other. When, having put the surviving two of the four guns on the limbers, they moved down the mountain (one broken cannon and the unicorn were left), Prince Andrei drove up to Tushin.
“Well, goodbye,” said Prince Andrei, extending his hand to Tushin.
“Goodbye, my dear,” said Tushin, “dear soul!” “goodbye, my dear,” said Tushin with tears that, for some unknown reason, suddenly appeared in his eyes.
The wind died down, black clouds hung low over the battlefield, merging on the horizon with gunpowder smoke. It was getting dark, and the glow of fires was all the more clearly visible in two places. The cannonade became weaker, but the crackle of guns behind and to the right was heard even more often and closer. As soon as Tushin with his guns, driving around and running over the wounded, came out from under fire and went down into the ravine, he was met by his superiors and adjutants, including a staff officer and Zherkov, who was sent twice and never reached Tushin’s battery. All of them, interrupting one another, gave and passed on orders on how and where to go, and made reproaches and comments to him. Tushin did not give orders and silently, afraid to speak, because at every word he was ready, without knowing why, to cry, he rode behind on his artillery nag. Although the wounded were ordered to be abandoned, many of them trailed behind the troops and asked to be deployed to the guns. The same dashing infantry officer who jumped out of Tushin’s hut before the battle was, with a bullet in his stomach, placed on Matvevna’s carriage. Under the mountain, a pale hussar cadet, supporting the other with one hand, approached Tushin and asked to sit down.
