Artist Yaroshenko Nikolai Alexandrovich. Biography Kislovodsk Resort Park will again become the largest in Europe

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 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, since 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 loudly. 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 throughout 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 big role in bringing the inhabitants of the dacha closer together (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

on Photo.Site. 07/06/2009 (c) Alexander S. Aksenov

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St. Nicholas Cathedral in Kislovodsk was consecrated on May 22, 2008.
The first Orthodox church in the resort city appeared along with its foundation. At the end of 1888, the main Temple of 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.

on Photo.Site. 01/13/2009 (c) Shurygin Alexander
Kislovodsk View of the city and its surroundings from the spur of the Jinalsky ridge. At the checkpoint below is the Krasnoye Solnyshko peak with the cafe of the same name, one of the most picturesque corners of the huge Kislovodsk park, which is especially popular among vacationers and residents of the resort city.

on Photo.Site. 07/15/2009 (c) Alexander S. Aksenov

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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 of the Orthodox faith, which the Russians brought to the Caucasus, and the mountain began to be called Cross.
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 of the 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 by famous Russian artists - the 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 Photo.Site. 12/30/2008 (c) Shurygin Alexander
F.I. Chaliapin's dacha in Kislovodsk, now the Chaliapin's Dacha museum. Concerts of famous musical groups and soloists (classical music, vocals) are regularly held here, which are very popular among vacationers and city residents.

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 Photo.Site. 01/06/2009 (c) Shurygin Alexander

on Photo.Site. 07/08/2009 (c) Alexander S. Aksenov

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 building, which, of course, neither in appearance nor in capacity could compare with the new beautiful building of the baths, which 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. The general appearance 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 of his 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 the best places in the Kislovodsk Slobodka - a suburb of the old fortress. The location of the estate was very favorable; it occupied the edge of the upper terrace above the Olkhovka River and Olkhovaya Balka, where outbuildings and an orchard were located, 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 the 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 technique as the Main House (wooden, plastered). The originality of the internal layout suggests that initially this building was assigned the role of the main manor house with a front and living area, 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 ridge of metal lattice 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, serving did not prevent young Nikolai from attending classes at the Academy of Arts in the evenings for four years. After serving at the plant for more than 20 years, Yaroshenko retired with the rank of major general and devoted himself entirely to painting.
Yaroshenko’s most famous paintings are “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.
On the morning of June 25, the heart of a wonderful man stopped, ending 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, which was dismantled for fuel during the Civil War. 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 D. Mendeleev Apartment Museum in St. Petersburg, in the last decades of his life the scientist was engaged in 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.
" 1889 (c) N.A. 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 Kondratyevich 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 the Pavlovsk Military School, Yaroshenko began attending evening classes at the drawing school of the Society for the Encouragement of Artists, where Ivan Kramskoy taught.

In 1867, Yaroshenko entered the Artillery Academy, 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,” and “Ukrainian Woman.”

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 large painting, “Nevsky Prospekt at Night,” which he presented at the IV Mobile Exhibition. Critics' opinions about the work of the young artist were divided, but even the most notorious skeptics admitted that the painting 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 Yaroshenko’s best works was the painting “Student”, which appeared at the X Mobile Exhibition. This is a kind of “historical” portrait of a generation, personifying an entire stage of the liberation movement of the 1870s.

Perhaps Yaroshenko was best at creating unique historical images, portraits of prominent people of the second half of the 19th century, the artist’s contemporaries. In them, through the characterization of one specific person, he was able to show the typical features of a contemporary, he was able to convey the very essence of the hero, moral and social.

Obviously, by the nature of his talent, Yaroshenko was a born artist-psychologist. And indeed, in the painter’s work, portraits are represented in the majority of paintings.

The portrait of actress Pelageya Antipyevna Strepetova was rightfully considered a masterpiece of portraiture of the 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 the surviving sketches and preparatory materials, he again wrote “The Terrorist.” Currently, the painting is kept in the Kislovodsk Art Museum of 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.

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 Wanderers 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, which the artist painted during his honeymoon, aroused 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 the 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 background 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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Famous painter Nikolai Yaroshenko contemporaries called the Itinerant artists a general. He was known not only for his unique creativity, but also for the fact that he was a close friend to many representatives of the Russian creative intelligentsia, he was the uncle of Boris Savenkov, a revolutionary terrorist, and the father-in-law of Maximilian Voloshin, a famous artist and poet. And throughout his life he managed to combine completely opposite activities - military service, which brought him the rank of general, and painting, which made him a world-famous artist.

Private bussiness

The future painter was born in the Poltava region in 1846 in the family of a highly educated nobleman, a retired major general. Nikolai had two brothers and a sister, who in the future would become the mother of the famous revolutionary Boris Savenkov.

And of course, the fate of Nikolai’s eldest son was predetermined by his father since childhood, who dreamed that he, like him, would rise to the rank of general. As a nine-year-old boy, Kolya was enrolled in the Poltava Cadet Corps, where, along with military training, cadets were given drawing lessons, for which the future artist had a special gift.

Then in the life of Nikolai Yaroshenko there was the St. Petersburg Military Artillery School and evening drawing classes at the Academy of Arts, where Ivan Kramskoy taught. Great strength of character forced Nikolai to work with great dedication. On the one hand, he devoted all his free time to painting, dear to his heart, and on the other, he served diligently, not allowing himself to deprive his father of his dream, who saw him as a career military man.

https://static.kulturologia.ru/files/u21941/00-lubov-014.jpg" alt=""Ukrainian".

By the age of twenty-five, Yaroshenko was already an established artist, with his own vision of the world and developed handwriting. The first masterfully executed portraits came from under his brush"Старик с табакеркой", "Крестьянин", "Старый еврей", "Украинка".!}

Love for life

After graduating from evening classes at the Imperial Academy of Arts, 28-year-old Nikolai Yaroshenko married Maria Pavlovna Nevrotina, a student who became his faithful companion and friend for the rest of his life. They were a couple of extreme beauty - physical and spiritual. And since, unfortunately, the couple did not have their own children, they raised an adopted daughter, Nadezhda.

https://static.kulturologia.ru/files/u21941/219419754.jpg" alt=" “Peasant Girl.” (1891).

And very soon he became a member of the Association of Itinerants, and almost immediately was elected by his colleagues to the board, where, together with Ivan Kramskoy, they were the leading representatives of the movement. Kramskoy’s comrades called the “mind” of the Peredvizhniki movement, and Yaroshenko – its “conscience”.

"Yaroshenko Saturdays"

Famous events took place in Nikolai Alexandrovich’s St. Petersburg apartment."Ярошенковские субботы", которые были своеобразным клубом прогрессивной петербургской интеллигенции. Постоянными посетителями здесь были знаменитые писатели - Гаршин, Успенский, Короленко, художники - Репин, Куинджи, Поленов, Максимов, легендарные ученые нобелевские лауреаты - Менделеев и Павлов. Гостил у Николая Александровича и Лев Толстой, который считал художника своим близким другом. И когда семья Ярошенко жила уже в Кисловодске, именно к ним и хотел "сбежать" русский писатель из своей Ясной поляны.!}

fantastic" landscapes causing a sensation among the capital's public. At that time, the North Caucasus for most residents of Russia was a distant and unexplored land. Therefore, at the exhibition of the painting "Shat-Mountain (Elbrus)", the public considered the panorama of the Caucasus Range depicted there to be a fantasy and invention of the master.

https://static.kulturologia.ru/files/u21941/00-lubov-017.jpg" alt=" “Portrait of M.A. Pleshcheev.” (1887). Author: N. Yaroshenko." title="“Portrait of M.A. Pleshcheev". (1887).

https://static.kulturologia.ru/files/u21941/00-YAroshenko-006.jpg" alt=""Portrait of Gleb Uspensky."

https://static.kulturologia.ru/files/u21941/00-YAroshenko-019.jpg" alt="“Portrait of Elizaveta Platonovna Yaroshenko. Author: N. Yaroshenko." title="“Portrait of Elizaveta Platonovna Yaroshenko.

https://static.kulturologia.ru/files/u21941/00-YAroshenko-007.jpg" alt=""Student". (1881).

https://static.kulturologia.ru/files/u21941/00-lubov-018.jpg" alt="“Sister of Mercy.” (1886)

https://static.kulturologia.ru/files/u21941/00-YAroshenko-021.jpg" alt=""Old man".

Life is everywhere", написанное в 1888 году стало венцом расцвета творческой зрелости Ярошенко и получила всенародное признание на XVI Передвижной выставке. Оригинальная композиция этого произведения представляет собой как бы выхваченный из жизни отдельный кадр: окно вагона, люди за решеткой, доски перрона, птицы. Это создает видимость случайно промелькнувшей сцены и делает картину правдоподобной и жизненной. !}

Nikolai Alexandrovich and his wife resumed the atmosphere of friendly St. Petersburg evenings in Kislovodsk. Close friends came to visit them for the summer, and famous artists, performers and scientists who vacationed in Kislovodsk in the summer were also regular guests in their house. Huge picnics, hikes in the mountains and various mass trips were organized to visit the sights of the Caucasus. And the artist brought many sketches and sketches from everywhere.

And at the end of his life, despite tracheal tuberculosis, Yaroshenko goes on a trip around Russia and the world. He will visit the Volga region, Italy, Syria, Palestine, Egypt. From these travels the master will bring back many paintings, sketches, sketches, portraits and graphic works.

Yaroshenko died at the age of 52. The artist died of a heart attack the day after he ran more than ten kilometers home in the rain from the Big Saddle Mountain, where he painted another sketch from life. There, in Kislovodsk, the artist-general was buried, and the Nikolai Alexandrovich Art Museum was opened there.

The artist’s widow, who survived her husband by seventeen years, bequeathed after her death to donate most of her husband’s works to his hometown of Poltava. They formed the basis of the Poltava Art Gallery, which would later be named after the artist.

And a little more about the famous painting by Nikolai Yaroshenko, for which the artist was first praised and then accused.

Private bussiness

Nikolai Alexandrovich Yaroshenko (1846 - 1898) born in Poltava in the family of a retired military man. His father managed to make a brilliant military career, rising from private to major general. He believed that his son would also become a military man and, although the boy showed an ability to draw from childhood, he sent him to the Poltava Cadet Corps. According to the artist’s wife, Nikolai Yaroshenko entered the Poltava Cadet Corps in 1855. However, a certificate of commendation has been preserved with the inscription “to the young cadet Nikolai Yaroshenko,” dated March 8, 1854, so Yaroshenko was already a cadet at the age of eight. In Poltava, Yaroshenko began to study painting, his first mentor was the local artist Ivan Zaitsev, who served as an art teacher in the cadet corps.

Since 1856, Nikolai Yaroshenko was transferred to the First Cadet Corps in St. Petersburg. After graduating from the cadet corps, Yaroshenko entered the Pavlovsk Military School in August 1863. While still a cadet, he began taking private drawing lessons. One of his teachers was the artist Andrian Volkov. Later, Nikolai Yaroshenko attended evening classes at the drawing school of the Society for the Encouragement of the Arts, where he taught. Having completed his studies at the school, he, at the behest of his father, continued his military education by entering the Mikhailovsky Artillery Academy. At the same time he became a volunteer student at the Academy of Arts. There he became close with members of the Association of Traveling Exhibitions. At the IV traveling exhibition, held in 1875, Yaroshenko’s first painting, “Nevsky Prospekt at Night,” was exhibited. On March 7, 1876, Nikolai Yaroshenko was admitted to the Partnership, and was soon elected to its board.

After graduating from the military academy, Nikolai Yaroshenko entered military service at the St. Petersburg Cartridge Plant, where he served for more than 20 years, retiring in 1892 with the rank of major general. All this time, in parallel with his service, he was engaged in painting. He was a regular participant in traveling exhibitions.

In 1874, Yaroshenko married Maria Nevrotina, a student of the Bestuzhev courses. From his honeymoon to the Caucasus, he brought back many mountain landscapes, which were highly appreciated by critics and exhibition visitors. Among Nikolai Yaroshenko’s friends were not only artists: Nesterov, Kuindzhi, but also Sergei Rachmaninov, Leonid Sobinov, Gleb Uspensky, Leo Tolstoy. Many of them were frequent visitors to “Yaroshenko Saturdays” in the artist’s St. Petersburg apartment.

In 1885, the artist bought a house in Kislovodsk, where he spent every summer. Friends often visit him there too.

After retiring, Nikolai Yaroshenko lives most of the time in his Kislovodsk house. But in 1897 he made a long trip to the Volga region, Italy, the Middle East and Egypt. Then he went to the Urals, where he worked on sketches for a series of paintings he had planned about the life of mining workers.

Nikolai Yaroshenko died in Kislovodsk on June 26 (July 7), 1898. He was buried near the city's St. Nicholas Cathedral.

What is he famous for?

Self-portrait 1895

Nikolai Yaroshenko is best known as a portrait painter, author of genre paintings and images of social types of his time (“Stoker”, “Prisoner”, “Life Everywhere”, “Student”, “Sister of Mercy”, “Student”, “Old and Young”, “ The reasons are unknown." In portraits, he tried first of all to convey the psychology of the hero. The artist’s wife said: “He could not paint faces that did not represent any spiritual interest.” The portraits he made of I. Kramskoy, N. Ge, Vl. Solovyov, G. Uspensky, actress P. Strepetova.

Many of Yaroshenko's paintings caused lively debate among critics. The artist was often accused of bias, and discussions often arose around social problems that were reflected in his paintings. Less famous are the landscapes by Yaroshenko, although they received the highest praise from fellow artists. Repin even wrote: “Yaroshenko, instead of painting pictures and portraits, should have switched to landscapes...”.

What you need to know

Perhaps the most famous painting by Nikolai Yaroshenko was “Life Everywhere” (1888, kept in the Tretyakov Gallery), exhibited at the 16th exhibition of the Wanderers. The painting depicts the inhabitants of a prison carriage: three men and a woman with a child, feeding pigeons through a barred window. Yaroshenko created it under the influence of Tolstoy’s ideas, and even wanted to give the painting the title “Where there is love, there is God.” Many viewers tried to figure out what brought the characters in the picture to jail: the widow in a black headscarf, the old peasant and others. “Behind the bars in the window you will see the Holy Family. Madonna, thin and pale, holding the baby Savior on her lap with her hand outstretched for blessing and the figure of bald Joseph towering behind,” wrote the critic Kovalevsky. Another review said that the picture embodies “the general idea of ​​the power of good and the power of love for life, attention to the “humiliated and insulted,” the revelation of humanity and the best sides of the inner world in every person, no matter how criminal he may seem.”

Direct speech

“Nikolai Alexandrovich had an integral nature. He always and everywhere kept himself open, expressing his views without fear, he never made any deals.<…>Nikolai Alexandrovich, truthful, principled, could not stand falsehood either in people or in art; he did not tolerate vulgarity and people affected by this disease. Nikolai Alexandrovich was not what is commonly called a “politician”; his actions were not intricate machinations - they were simple, sober and straightforward. He knew no compromises either. One could disagree with his views, challenge them, but never suspect him of petty, unworthy motives. His moral character was pure and unhypocritical.”
Artist about Nikolai Yaroshenko

“Admire her: a man’s hat, a man’s cloak, dirty skirts, a tattered dress, a bronze or greenish complexion, a chin forward, everything in her dull eyes: aimlessness, fatigue, anger, hatred, some kind of deep night with the reflection of a swamp fire - what it is? In appearance, she is some kind of hermaphrodite, but in her interior, she is a true daughter of Cain. She cut her hair, and not in vain: her mother so marked her Gapok and Broadswords “for sin”... Now she is alone, with grave cold in her soul, with oppressive anger and melancholy in her heart. There is no one to feel sorry for her, no one to pray for her - everyone has abandoned her. Well, maybe it’s better: when he dies from childbirth or typhus, there won’t be a scandal at the funeral.”
Law professor Petr Tsitovich in the film “The Student”

“Each of us has seen and continues to see such girls “with a book under their arm”, in a blanket and a man’s round hat, every day and for many years in a row... And so the artist, choosing from this whole crowd of “running with books” one of the most ordinary, an ordinary figure, furnished with the most ordinary accessories of a simple dress, a plaid, a man's cap, cropped hair, he subtly notices and conveys to you, the “viewer”, the “public”, the most The main thing... This is the main thing: purely feminine, girlish facial features, imbued in the picture, so to speak, with the presence of a youthful, bright thought... The main thing, what falls especially lightly on the soul, is something added to the ordinary female type - again, I don’t know , how to say, is a new masculine trait, a trait of bright thought in general (the result of all this running around with books)... This is the most elegant, not fictional and, moreover, the most real fusion of girlish and youthful features in one face, in one figure, overshadowed by not with a feminine, not a masculine, but a “human” thought, it immediately illuminated and comprehended the hat, the blanket, and the book, and transformed it into a new, emerging, unprecedented and bright human image.”
Gleb Uspensky “About one picture” (about the painting “Student”)

“The portrait of Gleb Uspensky, exhibited simultaneously with the portrait of Strepetova, was perceived by the audience almost as a pair with it. Painting (composition, color) did not provide grounds for comparison; the portraits were related by the “general character” of the depicted persons conveyed in them.
Gleb Uspensky’s portrait is perhaps “more open”, more addressed to the viewer than Strepetov’s; a heartfelt connection between the viewer and the person in the portrait is established instantly (Ge said in such cases: “Like Romeo and Juliet, looked back and forth - and that’s all, feeling, Love"). Strepetova, painted by Yaroshenko, is more “in itself”, her portrait requires more intense mental work from the viewer: the idea of ​​the portrait, “thought about”, “the sum of features” and “general character” are absorbed, realized by the viewer, evoke certain thoughts in him, create a certain mood with which he, as if from a higher spiritual point, continues to comprehend the portrait. Probably, Kramskoy, speaking about the portrait of Strepetova, remembered Dostoevsky not only because he found similarities in the work of the writer and the artist, but also because before Yaroshenkov’s portrait of Strepetova, a portrait of Dostoevsky himself, painted by Perov, came to mind - also all “in itself” ".
Approaching the portrait of Gleb Uspensky, the viewer meets a gaze directed straight into his eyes, into his soul, and in this gaze there is such sorrow, such unconcealed pain that it evokes an instant response. In “Strepetova” the power of a general nature is more clear; in “Gleb Uspensky” this harmony - the harmony of tragedy in a man of the eighties - is somewhat disrupted, hacked - by the predominance of pain.
V. I. Porudominsky about portraits by Yaroshenko

Seven facts about Nikolai Yaroshenko

• Students of the Poltava Cadet Corps, whose student was Nikolai Yaroshenko, took part in the restoration of the fortifications of the Russian army at the site of the Battle of Poltava.
• One of Nikolai Yaroshenko’s early drawings was entitled “Considerable Chic.” It depicts cadets at a summer camp. Against the backdrop of the tents, one of them is blowing up the samovar with his boot, and the rest are preparing for tea.
• Yaroshenko met the hero of the film “Stoker” in one of the workshops of the plant where he served.
• The prototype of “The Student Student” was Anna Chertkova (Diterichs), the wife of Leo Tolstoy’s secretary Vladimir Chertkhov, a student at the Higher Women’s Courses.
• Yaroshenko’s first painting, “Nevsky Prospekt at Night,” was lost during the Second World War.
• Leo Tolstoy was going to take refuge in Yaroshenko’s house in Kislovodsk when he was planning his first escape from Yasnaya Polyana.