"The capture of the snowy town" - a picture of the Russian artist Vasily Surikov (1848-1916), completed in 1891. It is stored in the State Russian Museum in St. Petersburg (inv. W-4235). The canvas is 156 × 282 cm [1] [2] [3] . The painting depicts the climax of an old folk game , which was popular among the Cossack population of Siberia. According to tradition, this game was arranged on the last day of Shrovetide , and the artist, who grew up in Krasnoyarsk , watched it many times in his childhood [4] [5] . Surikov worked on the canvas during his stay in Krasnoyarsk in 1889-1890 [6] , and graduated from it after returning to Moscow. When working on the painting sitters were many relatives and friends of the artist [7] .
Vasily Surikov | ||
Take a snowy town . 1891 | ||
Oil on canvas . 156 × 282 cm | ||
State Russian Museum , St. Petersburg | ||
( inv. Zh-4235 ) | ||
The painting “Taking the Snow Town” was presented at the 19th exhibition of the Association of Traveling Art Exhibitions (“Wanderers”), which opened in St. Petersburg in March 1891 [8] [9] . In 1899, the canvas was bought from the artist for 10 thousand rubles by the famous collector and patron Vladimir von Meck [10] . In 1900, the painting was included in the Russian exposition at the World Exhibition in Paris , where it was awarded a nominal medal [11] [12] , and in 1908 several paintings from the von Mecca collection, including “Taking the Snowy Town,” were purchased for the Russian collection Museum of Emperor Alexander III (now the State Russian Museum) [13] .
The critic Vladimir Stasov noted that although this work by Surikov “far from equals his magnificent painting“ Boyarynya Morozov “, it probably belongs to the most remarkable paintings of the Russian school” [14] . The artist and critic Sergey Goloushev (literary pseudonym - Sergey Glagol) wrote that he considers the painting “Snow Town” “the culmination point in Surikov’s work as a painter” [15] . The art critic Vladimir Kemenov called the “Capture of the Snow Town” a joyful and fervent picture, in which the artist perfectly managed to convey the “sincere enthusiasm of the Siberians for the game”, as well as present the image of the people in which “huge reserves of heroic strength, cheerfulness, fun are seething” [16] .
History
Previous events and work on the picture
In the summer of 1887, after completing work on the painting “ Boyar Morozova, ” Vasily Surikov, together with his wife Elizaveta Avgustovna and daughters Olga and Elena, went to their homeland, in Krasnoyarsk , where his mother Praskovya Fedorovna and brother Alexander lived. The artist stayed there until late fall, having made many sketches from urban and peasant life, and also painted a large portrait of his mother (now stored in the State Tretyakov Gallery ). At the end of this journey, Surikov planned to create a large canvas about Siberia, but the artist’s creative plans were violated by his wife’s grave illness [17] . Apparently, a trip to Siberia negatively affected the health of Elizabeth Avgustovna, and she died a few months after returning to Moscow, April 8, 1888 [18] [19] . Surikov was very upset by the death of his wife; in a letter dated April 20, 1888, he wrote to his brother: “On February 1, Lisa’s illness began, and I did not have a moment to calm down to drop a word for you. <...> I, brother, are losing my mind. On April 8, at 2 ½ hours, on Friday, in the fifth week of Lent , she, my dear, was gone. <...> It's hard for me, brother Sasha. <...> Here, Sasha, my life is broken; what will happen next, and I can’t imagine ” [20] [21] [22] .
To change the situation and distract from heavy thoughts, in May 1889, Vasily Surikov and his daughters again arrived in Krasnoyarsk, and this time lived there for about a year and a half [23] . The girls studied at the gymnasium, and the artist’s brother, Alexander, tried with all his might to entertain Vasily and restore his interest in life and creative activity. Almost daily they traveled around the city or visited its surroundings, places well known to the artist from childhood [24] [25] . Life among people close to him, familiar surroundings, country trips and fresh impressions of Siberian nature - all this contributed to finding peace and health, as well as the restoration of creative strength. Surikov returned to work - he painted portraits of his relatives and friends, old houses in Krasnoyarsk, mountain landscapes and views of the Yenisei , as well as various scenes from the life of Siberians [26] . According to the memoirs of the artist himself, cited by Maximilian Voloshin , he “went to Siberia”, “shook himself”, “and then moved from dramas to great cheerfulness” [27] [28] [29] .
At that time, Vasily Surikov’s idea arose to write a large canvas about “ taking the snow town ” - an old folk game that was popular among the Cossack population of Siberia. Many residents of Krasnoyarsk spent the last day of Shrovetide in the surrounding villages, where "towns" with battlements, snow cannons and figures were built from snow and ice. Participants in the game were divided into defenders and attackers. A rider on a horse was supposed to break through the ranks of the defending town, break into the gate and knock down the snow bar [30] [31] . In the past, the “capture of towns” organized in the village of Torgoshino was especially famous, and by the end of the 1880s and the beginning of the 1890s, “towns” could only be found in the villages of Ladeika and Beryozovka [5] . Surikov’s relatives lived in Torgoshin along the lines of his mother Praskovya Fedorovna (nee Torgoshina) [32] [33] . The artist talked about the fact that he had watched this folk amusement many times in his childhood: “For the first time I saw the“ town ”taken over Krasnoyarsk, on the other side of the Yenisei. We went from the Torgoshins. The crowd was. The town is snowy. And the black horse jumped right past me, I remember. That’s true, it was he who remained in my picture ” [4] [5] .
Surikov worked on the painting in Krasnoyarsk [6] . According to Alexander, the artist’s brother, “at the work of this picture, Vasya began to miss his wife less; in a word, I came to my senses to some extent, began to visit me, and we had friends ” [34] [35] . In 1890, during the Shrovetide, Vasily and Alexander visited the village of Ladeiki located near Krasnoyarsk (the names Ladeika or Ladeiskoe are also used). At the request of the artist, the Rookey youth built a snowy town and arranged for it to be “captured” [36] [37] - this performance cost the brothers “three buckets of vodka” [6] [38] . From nature, Surikov made several sketches of paints and a pencil [6] . According to some reports, the staging of taking the snow fortress was also carried out in the courtyard of the Surikovs estate in Krasnoyarsk [39] [40] - there local Cossacks took part in the construction of the town [41] . When working on the painting, sitters were brother Alexander, a cousin Tatyana Domozhilova , Ekaterina Rachkovskaya and many other friends [7] .
Surikov began work on a large canvas in the most spacious room of his Krasnoyarsk house [42] . A few months later, in the autumn of 1890, the artist returned from Krasnoyarsk to Moscow [9] , taking with him a canvas rolled on a shaft [42] . In a letter to his mother Praskovya Fedorovna and brother Alexander at the very beginning of 1891, Vasily Surikov wrote: “I inserted a picture in a gold frame. Very beautiful now. I finished it. Soon, in early or mid-February, it should be sent to the exhibition in St. Petersburg. I don’t know what impression she will make. I, brother, have not shown it to anyone yet ” [43] [42] .
19th Traveling Exhibition
The painting “Taking the Snowy Town” (with the subtitle “The Ancient Cossack Game in Siberia at Shrovetide” [44] [45] ) was presented at the 19th exhibition of the Association of Traveling Art Exhibitions (“Wanderers”) [8] [9] St. Petersburg on March 9, 1891, and in April of that year moved to Moscow [46] . After this, along with the exhibition, Surikov’s canvas visited Kharkov , Kiev , Elisavetgrad , Odessa , Chisinau and Poltava [8] [9] . Surikov's work aroused particular interest among the audience - in particular, this was due to the fact that at the two previous exhibitions of the Partnership (the 17th and 18th) not a single work of the artist was exhibited [47] . In addition, surprise (and sometimes bewilderment) among the artist’s contemporaries was caused by the fact that in the new picture Surikov moved away from his “tragic role”, which could include his previous large-format works - such as “The Morning of the Archery Execution ” and “ Boyar Morozova ” [48] [40] .
The reviews of “Capture the Snow Town” appearing in the periodical press during the exhibition were mixed. According to some critics, among the shortcomings of the picture, one could distinguish “unsuccessful composition”, “dirty tones”, variegation and suboptimal choice of color [49] . The author of an article about the exhibition, published in the newspaper Russkiye Vedomosti , wrote: “It's a shame and a shame that the current picture of Mr. Surikov causes nothing but decisive bewilderment; it’s hard to understand how an artist could put such a mere trifle into such a colossal framework ” [50] . In addition, some reviewers considered Surikov’s painting as “a work of a purely ethnographic character.” The journalist Nikolai Mikhailovsky in his “Letters on Various Differences” published in the issue of “Russian Vedomosti” dated March 26, 1891, noted that “with some surprise you stop in front of the huge canvas of Surikov, ” so everything in it is “bright, colorful, noisy there are so many people, ”and asked the question:“ How did this gang of cheerful, discharged people get here? ”Critic Alexei Suvorin in an article published in the newspaper Novoye Vremya on March 15, 1891, praised the artist for his cheerfulness and enthusiasm expressed in "purely Russian physiognomies" in the picture, but p and it criticized the too vivid colors of linen: "In the picture hurts the eyes only rigid diversity of colors. All of it is like a carpet that is hung in it on the back of the sled to the right, and individual figures of the crowd merge with it into something motley, solid, multi-headed, like a hydra ... ” [49] . The critic Vladimir Surikov praised Surikov’s work: in the article “Taking the Snowy Town in Siberia” published in April 1891 in the journal “ Northern Herald ”, he noted the originality of the canvas, as well as its “eastern appearance”, which consisted in the fact that “ types, faces, costumes, felt patterned boots, hairy and squat horses, even the colors are a bit colorful, but attractive - everything is kind of oriental, not ours, and yet, however, it’s half Russian ” [51] [52] .
Subsequent Events
In 1899, the painting “Taking the Snow Town” was bought from the artist for 10 thousand rubles by the famous collector and patron Vladimir von Meck [10] . In a letter to his brother Alexander dated June 3, 1899, Vasily Surikov said that the painting was sold to von Mecca in May, “he gave part of the money to me, and the rest in September” [53] . In 1900, the painting was included in the Russian exposition at the World Exhibition in Paris , where it was awarded a bronze [12] (according to other sources, a silver [11] ) medal. According to the catalog of the Paris exhibition, in which the canvas appeared under the French name “L'Assaut d'une ville de neige”, it was the only work of Surikov ( Vasili Sourikow ) presented on display [54] .
In 1908, several paintings from the von Mecca collection, among which, in addition to the Surikov’s “Capturing the Snowy Town”, were “Golden Autumn. Slobodka ”by Isaac Levitan ,“ Venice ”by Mikhail Vrubel ,“ Siberia ”by Apollinaria Vasnetsov and“ Radonitsa ”by Abram Arkhipov , were acquired for the collection of the Russian Museum of Emperor Alexander III (now the State Russian Museum ). An important role in the purchase of paintings from von Mecca was played by art critic Dmitry Tolstoy , who in 1901-1918 was a friend of the manager of the Russian Museum [13] .
During World War II, part of the paintings from the collections of the State Russian Museum was evacuated. Among them was Surikov’s painting “The Taking of the Snowy Town” [55] . In July 1941, museum exhibits prepared for evacuation were sent to the Moscow station , then on a special train escorted by a military guard to Gorky (now Nizhny Novgorod), and then along the Volga and Kama to Molotov (Perm) [56] . There they were housed in the Molotov Regional Art Gallery (now the Perm State Art Gallery ), located in the building of the Transfiguration Cathedral . After the war, the exhibits were returned to the Russian Museum - boxes with large paintings arrived there in April 1946 [57] . Currently, the painting “Taking the Snow Town” is exhibited in Hall 36 of the Mikhailovsky Palace , where, in addition to it, there are other works by Vasily Surikov, including “ Suvorov 's Crossing the Alps ” and “ The Conquest of Siberia by Ermak ” [58] .
On the occasion of the 125th anniversary of the creation of the painting, the exhibition “Painting with a Strong Character” was organized at the V. I. Surikov Krasnoyarsk State Art Museum , which ran from December 24, 2015 to March 20, 2016 [59] . The exhibition exhibited seven pictorial sketches for this canvas - four from the collection of the State Tretyakov Gallery and three from the collection of the Museum-Estate of V. I. Surikov [60] . In addition, household items and details of festive costumes close to those shown in Surikov’s painting were shown at the exhibition [61] . The exhibition also featured seventeen traditional folk rugs from the collection of the Tyumen Museum of Fine Arts , the drawings of which contained various improvisations on the theme of a flower bouquet [62] . From February 20 to April 28, 2019 in the Krasnoyarsk State Art Museum named after V.I. Surikov , the exhibition "Surikov. The capture of the snow town ", which exhibited the original canvas from the collection of the State Russian Museum. At the exhibition, more than 60 paintings and graphic works of Surikov were shown [63] .
Description
The picture shows the climax of the old game - that moment when one of the attackers on horseback managed to break through the ranks of the defenders and get to the snow fortress [64] [65] . In the center of the canvas is a "town", next to which are its defenders. In their hands are twigs and rattles with which they try to scare away the horses of their opponents. Along the edges of the picture are smiling and lively spectators watching the game with interest. All the characters of Surikov’s multi-figure painting “create an integral, single impression of a jubilant crowd actively participating in a daring game and joyfully greeting the victory of their comrade” [66] . The artist himself later recalled: “In“ Snow Town ”I wrote what I myself saw many times. I wanted to convey in the picture the impression of a peculiar Siberian life, the colors of its winter, the distance of the Cossack youth ” [15] .
In the center of the picture is shown the dashing takeoff of a horseman galloping on a horse, which immediately destroys the wall of a snow fortress [66] , completing the victory with a powerful fist [67] . Art critic Vladimir Kemenov noted that "the rider and the horse are depicted in a difficult perspective , they fly directly at the viewer, surrounded by sweeping clods of snow." It was quite difficult for the artist to depict the movement of a horse rushing forward with his chest, and his brother Alexander and his friend “made a town about five times in their yard and called a Cossack who, flying a horse, flew to the town” [16] . According to some sources, Surikov wrote the main character of his picture - the “winner of the town” from the Krasnoyarsk stove-maker Dmitry, according to others - from the Torgoshinsky Cossack Strizhnev [68] [69] .
Fragments of the painting “Taking the Snowy Town”
За первым всадником следуют другие; их движение происходит из глубины к центру полотна, справа налево [66] . Всего на картине можно различить шестерых всадников [70] . Второго всадника, голова которого возвышается над толпой защитников, Суриков писал со своего красноярского знакомого Александра Пестунова [68] . Сохранился акварельный этюд «Александр Николаевич Пестунов», сходство с которым подтверждает личность натурщика [68] [71] . Моделью для третьего всадника, выделяющегося своей ярко-красной шапкой, послужил ещё один знакомый Сурикова — ладейский казак Евграф Яхонтов [70] [69] .
Среди защитников городка выделяется фигура крестьянина в белой шубе, подпоясанного красным кушаком [72] . По сравнению с живописным этюдом «Крестьянин с хворостиной» [73] , в окончательном варианте художник изобразил его «более молодым, жизнерадостным, охваченным весёлым упоением жизни» [72] .
Интересны и образы зрителей. Мужчину в шубе и меховой шапке, сидящего в кошеве в правой части полотна, Суриков написал со своего брата Александра [7] (по некоторым сведениям, светло-коричневая соболиная шуба была специально для написания картины взята в Красноярском краеведческом музее [41] ). Спиной к зрителям, в той же кошеве сидит женщина в синей шапке с бобровой опушкой и горностаевой пелерине — её художник писал со своей двоюродной племянницы Татьяны Доможиловой , преподавательницы Красноярского епархиального женского училища [7] [74] . Справа от неё, опустив руку с муфтой на разноцветный ковёр, которым покрыта спинка саней, сидит женщина в тёмной шубе. Натурщицей для неё послужила Екатерина Рачковская , жена красноярского врача Петра Рачковского [7] . У самого правого края полотна видна жёлтая спинка лёгких городских саней (так называемых «козырьков»), в которых находится мужчина в меховой шубе и бобровой шапке (его Суриков писал с ладейского казака Ивана Перова) [70] . Одного из зрителей — находящегося в дровнях слева мужика в собачьей дохе , в восторге поднявшего обе руки, — Суриков писал с крестьянина Михаила Нашивошникова (по одним сведениям, он был из села Дронино, по другим — из Ладеек) [70] [69] .
Своеобразным « камертоном », задающим цветовую гамму всего полотна, служат яркие цвета тюменского ковра, расправленного вдоль задней спинки кошевы, изображённой в правой части картины. Рисунок ковра содержит разноцветные (красные, синие, голубые, белые, зелёные) цветы и листья, вытканные на тёмном фоне. Ковры такого типа были широко распространены в Сибири, они использовались в домашнем интерьере , а также для утепления саней [75] . Яркая декоративность ковра была использована художником для усиления общей атмосферы веселья, царящей во время изображённого им праздничного масленичного гуляния [76] . Искусствовед Владимир Кеменов писал, что в этом «изумительно написанном ковре» с особенной силой выразились «буйная радость красок и вместе с тем тонкий художественный вкус» [49] . По словам Кеменова, «этот любимый Суриковым тюменский ковёр является подлинным шедевром народного ковроткачества » [49] [76] .
Этюды для картины
В Государственной Третьяковской галерее хранятся четыре этюда для картины «Взятие снежного городка», выполненные маслом на холсте — «Портрет молодой женщины в шубе, с муфтой» (1890, 31 × 26,5 см , инв. 15105, из собрания И. У. Матвеева , поступил в 1933 году из ОГПУ ), «Голова смеющейся девушки» (1890—1891, 32,5 × 26,5 см , инв. 25577, поступил в 1910 году по завещанию М. А. Морозова ), «Крестьянин с хворостиной» (1890—1891, 37,8 × 23 см , инв. 15094, поступил в 1924 году из 5-го Пролетарского музея) и «Казачий урядник Е. М. Кобяков » (1891, 39 × 27 см , инв. 784, приобретён П. М. Третьяковым у автора) [73] .
Живописные этюды для картины «Взятие снежного городка»
Три этюда для картины «Взятие снежного городка» находятся в собрании Музея-усадьбы В. И. Сурикова в Красноярске — «А. И. Суриков в шубе» (1889—1890, холст, масло, 29 × 22 см ) [77] [78] , «Девушка в шубке» (около 1889, холст, масло) [79] и портрет Е. А. Рачковской (1889—1890, холст, масло) [80] . В собрании Вятского художественного музея имени В. М. и А. М. Васнецовых хранится этюд «Всадник» (1890, масло, 35 × 26 см ), на котором «победитель городка» изображён скачущим не на чёрной, а на белой лошади [81] [82] [83] .
Суриковым были также созданы и акварельные этюды для картины «Взятие снежного городка», среди которых портрет Александра Николаевича Пестунова (1890, 19,1 × 14 см , ГТГ , ранее был в Цветковской галерее ) [84] [71] , «Голова боярышни» (1890, 19,5 × 14 см , Тульский областной художественный музей ) [85] [86] и «Зимние шапки» (или просто «Шапки», 1889—1890, 24 × 27,2 см , Красноярский государственный художественный музей имени В. И. Сурикова ) [87] [88] . В каталоге выставки 1937 года также упоминаются акварельный этюд «Крестьяне. Рисунок голов» (1889—1890, 24,8 × 33,8 см , КГХМ ) и графический этюд «Портрет Е. Рачковской . Два наброска» (графический карандаш, 1889—1890, 24,9 × 33,7 см , собрание семьи художника, Москва) [87] .
Акварельные этюды для картины «Взятие снежного городка»
Reviews and criticism
В 1890-х годах художественный критик Владимир Стасов писал, что на картине Сурикова «Взятие снежного городка» изображена «современная бытовая сцена, интересная и характерная». По словам Стасова, автор полотна — «сибиряк родом, и знает, как никто, тамошнюю свою родину и тамошних людей» [89] . Описывая зрителей, изображённых на картине, Стасов отмечал их красоту, здоровье, свежесть, веселье, молодость и изящество [51] . По его мнению, хотя это произведение Сурикова «далеко не равняется его великолепной картине „ Боярыня Морозова “, но, наверное, принадлежит к замечательнейшим картинам русской школы» [89] .
The artist and critic Sergey Goloushev (literary pseudonym - Sergey Glagol) wrote in his memoirs published in 1917 that he considers the painting “Snow Town” “the culmination point in Surikov’s work as a painter”. Noting the relative simplicity of the canvas in comparison with the artist’s previous major work, “ Boyar Morozova ,” Goloushev (Glagol) wrote that in “Snow Town” “there is even more color, color, and silhouette of figures on a snowy background something real Russian, surprisingly close to us and so familiar to the eye ” [15] .
In the book Siberia in the Works of V.I. Surikov , published in 1930, the writer Sergei Durylin noted that the painting “Taking the Snow Town” is interesting not only for its picturesque virtues, but also because it “convincingly shows what Siberia meant for creativity and for the personality of Surikov ” [4] . Durylin called this painting "the only cheerful" picture of the artist, which greatly surprised his contemporaries, "accustomed to see in Surikov the gloomy, picturesque Dostoevsky immersed in Russian history." Noting that critics attribute this work to genre paintings, Durylin wrote that "in its composition, color, and" antiquity "stuck in the air itself, Gorodok is no less a historical picture than other historical canvases of Surikov" [ 91] .
Art historians Dmitry Sarabyanov and Vladimir Kemenov agreed with Durylin that in the film “Taking the Snowy Town” you feel “the spirit of history”. In their opinion, this work is a prologue to Surikov’s later monumental historical canvases, such as “ The Conquest of Siberia by Ermak ” (1895) and “ Suvorov Crossing the Alps ” (1899) [92] [93] . Kemenov called “The Taking of the Snowy Town” a joyful and provocative picture in which the artist perfectly managed to convey “the Siberians' sincere interest in the game.” In his opinion, “the image of a shining snowy landscape in a picture is inseparable from the image of a people full of health and beauty; huge reserves of heroic strength, cheerfulness and fun are seething in it ” [16] .
Notes
- ↑ Timing Catalog, 1980 , p. 315.
- ↑ Timing Catalog, vol. 7, 2017 , p. 149.
- ↑ Surikov V.I. Taking a snow town. 1891 (HTML). Virtual Russian Museum - rusmuseumvrm.ru. Date of treatment July 18, 2019.
- ↑ 1 2 3 S. N. Durylin, 1930 , p. 26.
- ↑ 1 2 3 V. G. Titov, G. A. Titov, 1956 , p. 131.
- ↑ 1 2 3 4 V. G. Titova, G. A. Titov, 1956 , p. 135.
- ↑ 1 2 3 4 5 V. G. Titova, G. A. Titov, 1956 , p. 136-137.
- ↑ 1 2 3 V.I. Surikov, 1977 , p. 307.
- ↑ 1 2 3 4 V.I. Surikov, 1977 , p. 352.
- ↑ 1 2 G. L. Vasilyeva-Shlyapina, 2002 , p. 161.
- ↑ 1 2 S. M. Gracheva . Surikov Vasily Ivanovich (HTML). Big Russian encyclopedia - bigenc.ru. Date of treatment July 18, 2019.
- ↑ 1 2 M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 30-31.
- ↑ 1 2 A.N. Benois, 2006 , p. 59-60.
- ↑ V.V. Stasov, 1954 , p. 39-41.
- ↑ 1 2 3 V.I. Surikov, 1977 , p. 220.
- ↑ 1 2 3 V.S. Kemenov, 1991 , p. 88.
- ↑ V. G. Titov, G. A. Titov, 1956 , p. 126.
- ↑ T. Kozhevnikova, 2000 , p. 27-28.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 12.
- ↑ V.I. Surikov, 1977 , p. 76-77.
- ↑ S. N. Druzhinin, 1987 , p. 32.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 12-13.
- ↑ V. G. Titov, G. A. Titov, 1956 , p. 128.
- ↑ V. G. Titov, G. A. Titov, 1956 , p. 129.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 15.
- ↑ V. G. Titov, G. A. Titov, 1956 , p. 129-130.
- ↑ V.I. Surikov, 1977 , p. 187-188.
- ↑ M.A. Voloshin, 1985 , p. 131.
- ↑ E.P. Gomberg-Verzhbinskaya, 1970 , p. 137.
- ↑ V. S. Kemenov, 1991 , p. 87.
- ↑ Timing. Painting, 1993 , p. 100.
- ↑ S. N. Durylin, 1930 , p. 20.
- ↑ S. N. Durylin, 1930 , p. 24.
- ↑ V.I. Surikov, 1977 , p. 222-223.
- ↑ V. S. Kemenov, 1983 , p. 39.
- ↑ V.I. Surikov, 1977 , p. 222.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 20-21.
- ↑ S. N. Druzhinin, 1987 , p. 33.
- ↑ T. Kozhevnikova, 2000 , p. 29.
- ↑ 1 2 V. Baeva, 2010 , p. 29.
- ↑ 1 2 M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 21.
- ↑ 1 2 3 M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I.Sezova, 2016 , p. 29.
- ↑ V.I. Surikov, 1977 , p. 82-83.
- ↑ V.A. Nikolsky, 1923 , p. 48.
- ↑ Partnership of Traveling Art Exhibitions, 1987 , p. 392.
- ↑ F. S. Roginskaya, 1989 , p. 419.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 9.
- ↑ T. Kozhevnikova, 2000 , p. 34.
- ↑ 1 2 3 4 V.S. Kemenov, 1983 , p. 45.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. ten.
- ↑ 1 2 V.V. Stasov, 1954 , p. 40.
- ↑ V. S. Kemenov, 1983 , p. 46.
- ↑ V.I. Surikov, 1977 , p. 112-113.
- ↑ Catalog officiel illustré, 1900 , p. 323.
- ↑ P.K. Baltun . Russian Museum: evacuation Gorky - Perm (HTML). www.world-war.ru. Date of treatment July 18, 2019.
- ↑ Timing in photographs, 1998 , p. five.
- ↑ O. Zavyalova . How the Russian Museum was evacuated (HTML). life.ru. Date of treatment July 18, 2019.
- ↑ Mikhailovsky Palace, Hall 36 (HTML). Russian Museum - a virtual branch - www.virtualrm.spb.ru. Date of treatment July 18, 2019.
- ↑ Exhibition "Painting with a Strong Character" (HTML). Krasnoyarsk State Art Museum named after V.I. Surikov - surikov-museum.ru. Date of treatment July 16, 2019.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 50-53.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 55-59.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 45.
- ↑ Exhibition "Surikov. The capture of the snowy town " (HTML). Krasnoyarsk State Art Museum named after V.I. Surikov - surikov-museum.ru. Date of treatment July 18, 2019.
- ↑ V. G. Titov, G. A. Titov, 1956 , p. 132.
- ↑ G.P. Perepelkina, 1966 , p. 90.
- ↑ 1 2 3 V. G. Titov, G. A. Titov, 1956 , p. 133.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. sixteen.
- ↑ 1 2 3 V. G. Titov, G. A. Titov, 1956 , p. 136.
- ↑ 1 2 3 M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I.Sezova, 2016 , p. 18.
- ↑ 1 2 3 4 V.S. Kemenov, 1983 , p. 40.
- ↑ 1 2 Alexander Nikolaevich Pestunov. 1890 - Surikov Vasily Ivanovich (HTML). www.art-catalog.ru. Date of treatment June 29, 2018.
- ↑ 1 2 V. G. Titov, G. A. Titov, 1956 , p. 137.
- ↑ 1 2 State Tretyakov Gallery, vol. 4, book. 2, 2006 , p. 364-365.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 22.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 28-29.
- ↑ 1 2 M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 33.
- ↑ A.I. Surikov in a fur coat. Study for the painting "Taking the snow town." 1889 (HTML). Museum-estate of V.I. Surikov - www.surikov-dom.com. Date of appeal May 16, 2018.
- ↑ A.I. Surikov in a fur coat. 1889-1890 - Vasily Surikov (HTML). www.art-catalog.ru. Date of appeal May 16, 2018.
- ↑ Girl in a fur coat. Study for the painting "Taking the snow town." 1889 (?) (HTML). Museum-estate of V.I. Surikov - www.surikov-dom.com. Date of appeal May 16, 2018.
- ↑ E.A. Rachkovskaya. Study for the painting "Taking the snow town." 1889-1890 (HTML). Museum-estate of V.I. Surikov - www.surikov-dom.com. Date of treatment June 19, 2018.
- ↑ V. G. Titov, G. A. Titov, 1956 , p. 138.
- ↑ G. L. Vasilieva-Shlyapina, 2002 , p. 98.
- ↑ Exhibition catalog V.I. Surikov, 1937 , p. 51.
- ↑ Exhibition catalog V.I. Surikov, 1937 , p. 81.
- ↑ V. S. Kemenov, 1991 , p. 235.
- ↑ Head of the hawthorn. 1890 - Surikov Vasily Ivanovich (HTML). www.art-catalog.ru. Date of treatment June 29, 2018.
- ↑ 1 2 Exhibition catalog of V.I. Surikov, 1937 , p. 82.
- ↑ M.V. Moskalyuk, A.V. Kistova, N.N. Pimenova, N.I. Sezeva, 2016 , p. 27.
- ↑ 1 2 V.V. Stasov, 1954 , p. 39.
- ↑ Catalog of the USSR postage stamps / M. I. Spivak. - M .: Central philatelic agency Soyuzpechat of the Ministry of Communications of the USSR , 1983. - T. 1 (1918-1969). - S. 457. - 512 p.
- ↑ S. N. Durylin, 1930 , p. thirty.
- ↑ D.V. Sarabyanov, 1955 , p. 270.
- ↑ V. S. Kemenov, 1991 , p. 89.
Literature
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- Kemenov V.S. Taking a snow town. On the 135th anniversary of the birth of V.I. Surikov // Artist . - 1983. - No. 9 . - S. 38–46 .
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- Moskalyuk M.V. , Kistova A.V. , Pimenova N.N. , Sezeva N.I. Painting with a strong character. On the 125th anniversary of the painting of V. I. Surikov, “Capture of the Snowy Town”. - Krasnoyarsk: Polikor, 2016 .-- 80 s. - ISBN 978-5-91502-105-0 .
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- Sarabyanov D.V. People's Liberation Ideas of Russian Painting in the Second Half of the XIX Century. - M .: Art , 1955. - 300 p.
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- Titova V.G. , Titov G.A.V. I. Surikov. - Krasnoyarsk: Krasnoyarsk book publishing house, 1956. - 208 p.
- Vasily Ivanovich Surikov. 1848-1916. Exhibition catalog / A. S. Galushkina , A. M. Lesyuk , E. A. Kotova, N. M. Shchekotov . - M. - L .: Art , 1937. - 95 p.
- Vasily Ivanovich Surikov. Letters. Memories of the artist / N. A. Radzimovskaya , Z. A. Radzimovskaya , S. N. Goldstein . - L .: Art (Leningrad branch), 1977 .-- 384 p.
- State Tretyakov Gallery - collection catalog / Y. V. Brook , L. I. Iovleva . - M .: Red Square, 2006. - T. 4: Painting of the second half of the XIX century, book 2, N — I. - 560 s. - ISBN 5-900743-22-5 .
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Links
- Surikov V.I. Taking a snow town. 1891 (HTML). Virtual Russian Museum - rusmuseumvrm.ru. Date of appeal April 26, 2018.
- An interactive view of the hall of the State Russian Museum, in which the painting "Taking the Snowy Town" (HTML) is located. Virtual tour of the Russian Museum - virtual.rusmuseumvrm.ru. Date of appeal April 26, 2018.
- Interactive view of the hall of the State Russian Museum, which contains the painting “Taking the Snow Town” (go left), www.virtualrm.spb.ru
- Taking a Snow Town, Vasily Surikov, 1891 (HTML). Google Arts & Culture - artsandculture.google.com Date of treatment July 18, 2019.