Monuments to A. S. Pushkin in Tver

It was established in 1937 ^{[1] [4]} or 1938 ^[5] , probably in connection with the anniversary of the death of the poet. The monument in full growth appeared near the former church , the area was named Pushkinskaya ^[4] . The sculptor is unknown, the material of the monument is gypsum and concrete . In 1942, the monument was destroyed, but seven years later restored ^[5] . In the 1960s, the regional committee of the CPSU was built on the site of the church, and the monument, as an obstacle to the construction, was destroyed. Then the square lost its name Pushkinskaya ^[4] .

A concrete bust installed in the 1960s near a former school building. The sculptor is unknown ^[5] .

This is a bust of bronze and granite , erected in 1972 according to the project of the sculptor Ekaterina Belashova , who specialized in monuments to Pushkin (among her works is a monument in the Pushkin Mountains ).

In 1974, they wanted to erect a monument to Saltykov-Shchedrin on the embankment, but in the end there appeared the White Nights sculpture by OK K. Komov ^[6] , which still attracts the attention of tourists ^[2] . The monument is made in bronze and granite.

Monument reviews

Writer Vyacheslav Morozov:

I myself recall when, with nostalgic yearning, I first looked at a photograph of a monument to Pushkin in Kalinin (now Tver), feeling a full-blooded relationship with the Pushkin era. And, it would seem, nothing of the kind was stunning in the monument: the poet was standing in a top hat and long coat, leaning on the grating of the fence, as if he had stopped to look around for a minute, to admire the St. Petersburg white night, on a half-bent arm there was an almaviv cloak covering the back of the fence. The pose is light, free, the chest is raised, as if it had just inhaled fresh spring air, the gaze is fixed on the distance. Later I learned that the city authorities of Kalinin wanted to erect a monument to M. E. Saltykov-Shchedrin in this place, but when they saw Oleg Komov's sculptural composition “White Nights”, they chose it. ^[6]

Artist Ilya Komov :

Many now believe that this is perhaps the best monument to Pushkin, where the era of Pushkin and the 19th century in general was transferred. And many of him (Komova) were reproached for the fact that he introduced the architectural motif “lattice”, because before him it was believed that this was not a very good technique designed to save an unsuccessful sculpture. But here was a completely different case, since the “lattice” appeared not only as an architectural element, but also as an element of the image. The lattice bears a figurative load of sensations of Pushkin's poetry, sensations of the spirit of the 19th century, and in many ways it creates this unique silhouette that is remembered by the audience. And when they say Komov, everyone remembers this particular monument. ^[7]