Who wrote an unequal picture. Unequal marriage
There are a lot of works of art that cause a lot of disputes around them. As you know, creative people are special, therefore their creations are ambiguous.
To such can be attributed picture "Unequal marriage" Vasily Pukirev. In the days of its creation, in 1862, a lot of rumors walked around this composition.
The plot was so familiar to the audience, which did not cause any surprise. Sensules were about the other: many thought that the artist portrayed himself in the shaper. And later, rumors began to appear, as if the picture had a magical impact on the grooms at the age: they lost consciousness, they refused to marry them at all.
The image of the Schaer turned out to be very bright, which it came across the public to the idea to interpret what is happening in the picture as a love triangle, and not just as a regular wedding. Since the features of Pukireva himself clearly looked at the shaft, then the people decided that in this way he portrayed his drama: allegedly his bride was raw married for the dignitaries in the years.
Nowadays it was a story about friend Vasily - Sergey Varentsova. He was in love with a young girl who was planning to marry. But parents gave it to the gray-haired manufacturer.
Vasily Pukirev decided to portray this drama on the canvas. And initially a man for the bride was written off Varentsov. But when Sergey saw this picture, he even stopped talking to the artist. Later, the offense passed, and he asked to change the shower. Thus, Shafer has already reminded the artist himself.
Vasily Pukirev made the groom to more old and sullen, so he turned into an unattractive man. But even in the XIX century, unequal marriages were so common in Russia, that such a substitution was not an exaggeration - young girls were often given for older rich merchants and officials. This is evidenced by the paintings of other painters.
Edmund Blair Leighton. While death will not separate us, 1878
Akim Karneev. Unequal marriage, 1866
Firsa Zhuravlev. In front of the crown, 1874
We offer your attention a video where you can look at the picture from different angles!
Historian N. Kostomaarov recognized to friends that after he saw the painting "unequal marriage", changed his mind to marry a young girl. Magic? Rather, the ironic and accuratory meaning of the painting were so obvious that the gray-haired groom just became embarrassed from it, and they did not want to repeat the mistake of many of their peers.
It is good that the picture is so cutting on people. No, we remember that "Love has no age"But still you need to think twice before entering into marriage, the more unequal. It is now difficult to surprise someone with a married couple with a big difference in age, but I want to believe that this is love, and not for different mercanthyl reasons.
A curious article was caught up with a well-known painting of Pukirev "unequal marriage", thanks to which I looked at this picture in a new way, in addition of seeing what I had not seen before!
Old man. Bride. Dead wife. "Unequal marriage" Vasily Pukirev
Article author: Nikolay Zharinov
Cultureologist, philologist, writer, journalist and guide.
Vasily Pukirev (1832 - 1890) and Konstantin Flavitsky are known as the genius of one picture. But if Flavitsky finished his life path with the creation of a masterpiece, then with Pukirev, everything came out otherwise. The painting "unequal marriage" became the only masterpiece of the master. He could not create anything better.
Indeed, you look at his other canvas and amazed at how much they are failing compared to the "unequal marriage." Very standard topics, typical realism, so characteristic of Russian painting the second half of the XIX century. Everything is so monotonous, simple and boring ... But one picture, one single masterpiece is the highest skill. This is the example when the whole artist burns out in one canvase when he does something that will strike people for many years. The devil lies in the details. If we do not notice them, then the picture is dying. It ceases to be the subject of art and becomes only a beautiful image.
Vasily Pukireva is "unequal marriage - this is the work where you need to follow all the" abyssful little things ", for every detail. Otherwise, we risk everything to skip. The fact remains a fact. Artists and before Pukirev and after him, once again depicted unfortunate young brides and their old rich husbands. But such an effect of the canvase did not produce.
There is no picture crying, broken hands - all that, in the opinion of many painters, should be depicted by real grief. Everything is much simpler. The bride is about the priest should wear a ring on the finger. She is unhappy. It is clear: her husband, to put it mildly, is elderly. Such situations were often.
Anna Kern, for example (that very, about which A.S. Pushkin wrote: "I remember a wonderful moment ..."), Parents issued Yermoliy Fedorovich Kern, who was already 52 years old at that time. The bride is just sixteen. The explanation in love was a military short.
General Kern asked Anna:
- Are I not fighting for you?
"No," Anna replied and ran out of the room.
After the first marriage night, she wrote in her diary: "He is impossible to love him - I'm not even given to respect for him; I will say right - I almost hate it. " However, the girl did not suffer for a long time, quickly acquired numerous lovers. That is, you can not see anything terrible. But it is not.
There are two very strange figures in this room. Two old women. One stands behind the fiance, the other for the priest. It seems to be nothing unusual. Well, the old women came to look at the wedding. Maybe they are the sisters of the groom. But then the question is subject to: what are they in the same wreaths, as in the bride. And on one even a white dress is. Stop, stop, stop. Like this? Another woman in white at the wedding? The church is not a registry office, where the brides are running. Something is wrong here!
We look attentively on the old woman's dress. That's time! Yes, this is not a dress at all, more on the sheet it seems. And this is a sheet, more precisely, the funeral savan. The figure of the second bride behind the back of the priest looks even more strange, because it is not according to the rules of the rite. Next to the priest guests nothing to do if they, of course, came from the other world. So, we turn out that three brides at the wedding at once. Two of them are dead and look at the old groom. A strange, some kind of realism is obtained, too, Gogol or Hoffman gives. And for the bride we are experiencing now quite differently. After all, if the hubby has already sent two to the world, so with this girl what will happen?
And immediately completely perceive the symbol of what is happening. The bride is not the ring on the finger. Her suffering is urged. And the priest so constantly inclined in front of it. Understands her sacrifice.
And what is the light here! After all, he is on the canvas Caravaggio! Divine light in the literal sense of the word. It is in this light from the upper left corner, from the window of the church, all the ghosts of former wives come to life. The light gently flows on a white dress, in a gentle young skin of the bride, her hand brushes. And here he is the center of the composition. Not her face, not the figure of the old groom, but the hand, insignificant to the martyrdom.
Surprisingly, what the game of views is captured on the canvas. Dead old women look at the groom, the bridegroom - on the bride, the bride - to the floor, the friends of the groom - also on the bride. The author of the painting is watching unfortunate. Here he, Vasily Pukirev, stands, arms crossed, in the right corner. And another artist, a friend of the author, Peter Schmelkov, looks at us, who prompted him the idea of \u200b\u200bthe picture. It is just asks the viewer a silent question: "Do you understand what is happening?"
The fate of Vasily Pukireva developed sadly. "Unequal marriage" had a huge success, but the artist was not happy. Immediately after the sale of the painting, he left for several years to Italy. It is understandable. In the picture in the form of a young girl, his love was depicted - Praskovya Matveevna Varenzova. Pukirev did not create any more painting, which could compare with his first masterpiece. He was constantly returned to the topic of tragic marriage, but everything went out. And in the end, alcohol, poverty, oblivion. No better than the fate of the model. At the beginning of the 20th century, she died alone in Mazury's Laddle.
Artifex.ru.
The girl was given to marry the rich prince Tsizianov. The first about this love tragedy told Gilyarovsky in his book "Moscow and Muscovites", more precisely, he retold history from the word of childhood Pukireva - painter Sergey Gribkov: "This old important official is a living face. Bride next to him - Portrait of Bride V.V. Pukirev, and standing next to crossed hands is Vladimir V.V. Pucarev, like a living "...
And in 2002, the Figure of the 1907 year of the famous Moscow artist and the teacher of Vladimir Dmitrievich Sukhova brought to the Tretyakovka. It was a pencil portrait of an elderly Praskovy Matveevna Varetzova.
The artist even signed it: "Praskovya Matveyevna Varentsova, with which 44 years ago, the artist V.V. Pukurov wrote his famous painting" unequal marriage ". Mrs. Varentsova lives in Moscow, in Mazurynskaya Laddle."
Fate ordered so that the former bride of Pukireva, and later the widow of Cycianov, finished his life in Mazury's Laddle ...
This is one version of the history of creating a picture, widely known. In continuing the topic, I will give a more real version that the art historians and lovers of painting and history know mostly.)
Let's start with the fact that before such a marriage was considered an excellent party. Why? Even if there were no love, then the girl who married an old man is automatically freed from the guardianship of the Father. An old man is dying, the young widow watering tears laid time, as a rule, it wakes married to whom she wants.
Then, we see that the prince from a very ancient Georgian kind is married at a merchant daughter! And here this marriage is really unequal, because it is different. In this case, a very important honor of the merchant family was rendered. Such a marriage was considered for happiness, because he gave more opportunities and opened the door to the world, where there was no access previously.
Of course, now I will immediately argue that the old man can live long enough, thereby pooling the life of his young wife ... But I would not hurry in your place. And that's why.
Let's in order. Let's start with the prince. The most interesting thing is that the prince of Ctsianins to this wedding has nothing to do. From Him, the artist simply wrote off the image, or rather face, and it can be said that he folded the groom: a figure and clothing - from Poltoratsky (Tver Leader of the Nobility), a head, with a special expression of a person, from Cycianova, a wreath of gray hair - from the cook Vladimir Ivanovich who served in those years in the house of Varentsov.
When art historians were raised by archival materials, they came to the conclusion that at the time of writing the picture it could be Pavel Ivanovich Zizianov, for only one of the men of Ctsiananov was in Moscow. But by that time the prince was already married. By the way, he and his wife had a big difference in age. Then I did not dig, I will only say that the spouse he had an Austria from Vienna. But this is another story and with ours she does not even echoes.
Initially, the plot of the paintings was associated with a love drama that happened to the artist's friend with a young merchant Sergey Mikhailovich Varentsov, who was in love with 24-year-old Sophia Nikolaevna Rybnikov, but the parents of the bride preferred to him the richest and well-known in the trade and industrial world, non-labor 37-year-old Andrei Alexandrovich Karzinkina. Moreover, according to N. P. Sreychikov's testimony, Varetsov's grandchildren, by virtue of the circumstances, Sergey Varentsov was forced to attend the wedding held in 1860 in the church of the three saint on the slices, as a Sharpet. N. A. Varentsov in his memoirs explained this necessity by the fact that the sister Karzinkina was married to the elder brother Sergei Varentsov - Nikolai.
It must be said that this marriage was happy. Karzinkin not only was rich, but also possessed a very good character. Sophia Nikolaevna in this marriage gave birth to three children: Lenochka, a year later, Sasha, and after 5 years Sonchka. Lena when he grew up, went to study at the same School of Painting, who finished Pukirev himself and was a student of Polenov. And Sasha when he grown, he was friendly with Pavel Mikhailovich Tretyakov.
But, seeing his image in the picture, Sergey Varentsov made a scandal to a friend, as in turn, was going to marry Olga Urusovoy. And in the merchant families, it was not taken to endure SAT for everyone to review. As a result, the artist reworked the portrait and depicted himself in the picture itself.
N. A. Varentsov in his memoirs "heard. Seen. Repeated. The experienced "told about this story as:
"About Sergey Mikhailovich said that he was in love with the lady - the daughter of the merchant Rybnikov and wanted to marry her, but the parents preferred to marry her for Andrei Alexandrovich Karzinkin, although not so beautiful, but a very rich and good person.
This failure of Sergey Mikhailovich quite oppressed, and he shared grief with his friend by the artist Pukirev, who took advantage of this story for the plot of his picture under the name "unequal marriage", depicting the groom with an old man by General, and the Schafer, standing with his chest hand, - Sergey Mikhailovich . The picture had a great success at the exhibition, P. M. Tretyakov was acquired and until now is in the Tretyakov Gallery. Because of this picture between Sergey Mikhailovich and Pukirev, a major quarrel occurred when he saw his image on her. Pukiress was forced to attach a small beard with a scope, leaving all the features of the face unchanged, as Sergey Mikhailovich did not wear beards. "
And here we come to the most interesting point. Pukirev painting wrote in 1862. And he performed her somehow very quickly, hot, hot. And for the next year, somehow, for some reason, there would seem to be reasons, it begins to ask for the border to review the picturesque galleries and picturesque works, and leaves for the very school year, in October, and returns only in January. And gives his picture to the exhibition, where it gets the title is very high at that time, for the household genre he receives professors, glory and honor.
So why is Pukirev so suddenly leaving? Yes, because he fell in love. And he fell in love at the time when he wrote a picture. Praskovya Matveyevna Varenzova posed him, the grand niece of Princess Olga Mironovna Schepina-Rostov (nee Varenzova-Tarkovskaya), Spouses Prince A. I. Schepina-Rostovsky. Praskovya Matveyevna and friend of the artist were named after. And by the way, I have never found a confirmation that love was mutual. Here I will not stop in detail, I will tell only a few more words about the Pukirev itself.
Some researchers argue that he did not marry, others say that he was married to some kind of little woman. And indeed, a certain artist inev. In a note addressed to Pavel Mikhailovich Tretyakov, calls this woman who is incomprehensible to what she was, so to speak, the rank, Mrs. Pukireva. So, our artist was not a wedded marriage. It was Messiank Sophia Petrovna Terekhova, she was henger than 13 years. And here it is really a real drama and from all actors I need to regret Sophia Terekhov. What is not a wedded marriage at that time? And that means - there is no rings on your finger, you need to keep yourself somehow very timidly. Essentially, nobody have not even had the right to inheritance, but about some benefit, in the event of the death of the spouse, and not to speak. It should be noted that she took on a very difficult wear, because she had to pull in the life of a very sick person. He began to hurt much very much, so hard that he had to leave teaching. At first, he sold his work, but in the end, still the need hired on this family. Everyone said that he was always, always (!) Purely dressed, smoothed ... And this means that she loved him all his life, did not bother him, he did not say that she was very painful and hard ... And he She did not like ...
Vasily Vladimirovich Pukirev(1832 -1890). Easured marriage 1862
In 1860, two years before the creation of a painting "unequal marriage", in the church of the three saints in the rods married Moscow merchant Andrei Aleksandrovich Kartinin with the daughter of the Bogorodsky merchant Sofia Nikolaevna Rybnikova.
The bridegroom was 37 years old, the bride is 24 years old. Andrei Alexandrovich traded tea, had 4 barn in the old Living room and 10 shopping institutions in Moscow.
Man he was rich, calcined, but with a soft and benevolent character; They talked about him, he didn't even kill him biting his mosquito, but only drove. No wonder that the parents of the bride preferred to the 27-year-old merchant of Sergey Mikhailovich Varentzov, a richer and famous groom in the commercial and industrial world.
The handsome of the same varents was at the wedding only by Schafer. To explain this strange act Sergey Mikhailovich can be the fact that his elder brother was married to the sister of the basketain.
This is very oppressed by Sergey Mikhailovich, and he shared his experiences with Pukirev.
The sake of fairness must be said, the marriage was successful. A year later, the young daughter Elena was born, then two sons.
The daughter, Razurov, graduated from the school of painting and sculpture, became an artist and married a writer TV.
The eldest son, Alexander, was also not indifferent to painting and, having matured, began his friends with P.M.Tretyakov.
Thus, to the idea of \u200b\u200bthe basis of the picture, the wedding of the basketin and Rybnikova had no relationship.
But what in this case pushed the artist to writing it?
I will express our guess. In February 1861, the Decree of the Sacred Synod, a condemant marriage with a large difference in age.
The church touched a painful question for society, because in that epoch, most marriages were based on the benefit and material interest.
The plot of the paintings was born by itself: the story of Varentsov was kept in the memory of Pukireva about his unsuccessful love.
The topic was carried away by the artist. In 1862, Pukirey began work. He quickly wrote a sketch of a small size (34x26) and took up the big canvas.
The seat of the basketin's groom passed the old man (the image collective). Schafer, standing with his hands folded on his chest, was varents, whose portrait, written by oil, was kept in the workshop.
The bride Pukirev wrote from Praskovy Matveevna Varetzova. Sergey Mikhailovich Varenzova named, she took place from a notable kind and was the grandchildren of Princess Olga Mironovna Schepina-Rostov (nee Varenzova-Tarhovskaya), the wife of Prince A.I. Nichpina-Rostovsky, whose origin originated from Rüric. Pukirev was in love with her.
It is felt even in the picture. In 2002, the State Tretyakov Gallery acquired a pencil drawing of the artist V.D. Sukhov, made in 1907, which says: "Praskovya Matveevna Varetsova, from which 44 years ago, the artist V.V. Pukurov wrote his famous picture" unequal marriage ". Mrs. Varentsova lives in Moscow, in Mazurin Laddle. "
Yes, Varenzova lived his old age in the Laddle. Solva, walking around Moscow, she said that she was married to a young beauty for a rich man, he soon died, but to his beloved, artist Pukiress, she did not return. Do you believe this Molve? N.A. Mudrogel, the oldest worker of the Tretyakov Gallery, taken to the service yet Tretyakov himself, recalled:
"In the picture of Pukireva, the" unequal marriage "in the role of Shaper for the bride, the artist depicted himself ...
And in general, the whole picture, as I know, is the echo of the personal drama of the artist: the bride from the picture was supposed to become his wife and did not become, a rich and noble old man thugged her life. "
About this tragedy Pukireva also spoke his friend S.I. Gribkov. In the book "Moscow and Muscovites", Gilyarovsky wrote: "O. V.V. Pukreiv S.I. Gribkov always spoke with delight: - After all, this is Dubrovsky, Pushkin Dubrovsky! Only the robber was not, and his whole life was like Dubrovsky - and handsome, and mighty, and talented, and fate is the same! Comrade and friend V.V. Pukhevea from the young age, he knew the story of the painting "unequal marriage" and the entire tragedy of the author's life: This old important official is a living person.
The bride next to him is the portrait of the bride V.V. Pukhevea, and standing with arms-arms - it is V.V. Pukreiv himself, like a living. "
So was there or not Praskovya Matveevna bride as an artist? Tragedy Varentsova or his own depicted an artist in the picture? Because of the paintings between Varentsov and Pukirev, a major quarrel occurred when the merchant saw her image on it.
He was preparing for a wedding with a merchant daughter Olga Urusova and indignant that the artist told everyone about his secret. Pukiress was forced to attach a small beard with a scope, leaving all the features of the face unchanged.
Outwardly, they were like each other, and now it was possible to say that Pukirey depicted himself in the picture. So together and found themselves on the Praskov region of Matveevna Varentsova and Vasily Vladimirovich Pukirev. However, besides them, Schmelkov, there is another recognizable character on the canvas - Family Furniture.
Shocked picture, he decided to make a frame for her, "what else was not." And did. It was not equal to the Tretyakov Gallery.
It is an artistic work itself: carved solid wood - both flowers and fruits. Tretyakov she liked so much that he began to order Ramansky frames.
By that time, Pukirey began working on the "unequal marriage" picture, his financial situation was reproached. He received a lot of money for the nine images made for the Church of St. Almighty Trinity, which in mud, in Moscow, for two images for the church in the estate of Naryshkin. In addition, they were fulfilled by the portraits of the leader of the Tver Nobility of Poltoratsky, the leader of the Kaluga nobility F.S. Ishukin was nearing the completion of other registered portraits.
Him, the young teacher of the Moscow School of Painting and Sculpture, was 30 years old. He dreamed of a family. It is difficult to say when Pukirev made an offer to Praskovier Matveyevna. One thing is obvious: barely parents learned about it, they hurried to give her daughter for the famous and rich man of their circle. He was much older Praskovy Matveyevna. Marriage of his daughter with an artist - the son of a serf peasant who received free in early childhood, they found unequal.
Praskovya Varentsova did not oppose the will of the mother. But, it seems that the love of Pukiress kept the whole life, otherwise it would not be an unfamiliar artist who had ever picked up for the painting "unequal marriage." The picture, which in 1871 everyone saw in the Tretyakov Gallery, did not leave anyone indifferent. Repin wrote about her special impact: "Unequal marriage" Pukireva ... They say a lot of blood spoiled not one old general. "
And the historian N. Kostomarov admitted to the friends that, seeing the picture, refused to marry a young girl. Pukirev did not get a family. Something as if I broke in it. Cases did not go. Good luck turned away from him.
He wrote new pictures, but they did not find the buyer. Pukirev was rented, stopped teaching in the school, sold his collection of paintings, lost an apartment, lived for friends of friends and died in obscurity of June 1, 1890. So, writing someone else's fate in the picture, he seemed to predict his. Here, in fact, the whole story.
text Natalia Petrovna and Lev Mikhailovich Anisov
His common idea, strong expression, extraordinary for the household plot, the size and workshop immediately nominated the artist for one of the most prominent places in the Russian painters. For her, the Academy has awarded him the rank of professor.
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In the middle of the XIX century, the question of the dysfunctional position of a woman, a novelist girl, issued to marry her will, became painful for Russia. A significant number of marriages at the time was based on the benefit and material interest. In 1854, the scene of the Small Theater was put by the play A. N. Ostrovsky "Poverty is not a vice", and in February 1861, a decree of the sacred synod, condemning marriage with a big difference in age, was released.
There is a version that the idea to write a picture on this topic suggested by Vasily Pukirev, the artist, who studied the morals of the merchant world and made the conclusions that cynicism rules their world, and the thirst for profit makes merchants.
Work on the picture
Pukirey proceeded to work in 1862. He quickly wrote a sketch of a small size (34x26) and began writing a large canvas.
Description
The picture shows the mystery (rite) of wedding in the Orthodox Church. Against the background of the twilight of the church, the light falling out of the window brightly illuminates only the bride, the bride and the priest. The groom is depicted by an old man in a good suit, with a caustic, condescending and irritable facial expression. He has a wrinkled face, inexpressive dull eyes, squeezingly outflowed lips, on the neck of the Order of Vladimir II degree and on the left of the chest that corresponds to this Order of the Star. Spring and tight collar gives his face a fixed and frozen look and only his eyes are slightly beveled towards the bride.
In contrast to the groom written the image of the bride. She is very young, quite another child, as he says the oval of her faces, silky blond hair, little height. She has Fata, testifying to her innocence. The face of her pale, the eyes are crying and the look is lowered down, which gives it a special point of sight. Especially clean it seems in the wedding dress. In her left hand, she was confusedly lowered down the candle, and right she stretches the priest, substituting the index finger for the wedding ring.
The figure of the priest in the rize is depicted with a born, with a lookover look, in his left hand he has a church book, and the right hand holds the golden wedding ring, which he is going to put on the bride on the finger.
Among the guests there is a figure of a scarlet depicted at the edge of the painting for the bride. The expression of his face expresses discontent, the hands are folded on the chest. The images of the shower and the bride are connected in the picture with thin, indirect connections. First, the artist demonstrated this by placing them in close proximity to each other in the close space of the Church, and secondly, only they are young and combined with one common experience. At the chest of the Schafer, as it should be, Rose, hugging at the heart, but in this case it is a sign, a circumscribing hero on suffering.
The rest of the characters play a minor role. The author divides them into two groups - the group of the bridegroom and the bride group. The first one, among which is an important military and standing with him a man, with frank and immodest curiosity look at the bride. Deadly looks at the old man-groom, an elderly woman on the right, apparently - Swaha. In the second group, except for the shower, a man standing next to him, which is clearly reading a living participation in a close look.
Prototypes of the picture
Version of Nikolai Varentsova
According to the first version, the plot of the paintings is associated with a love drama that happened to the artist's friend with a young merchant Sergey Mikhailovich Varentsov. According to this version, Sergey Varentsov was in love with 24-year-old Sophia Nikolaevna Rybnikov, but the parents of the bride preferred to him the richest and well-known in the trade and industrial world, Nevatar (37-year-old, 13 years older than the bride) Andrei Alexandrovich Karzinkina. Moreover, according to N. P. Sreychikov's testimony, Varetsov's grandchildren, by virtue of the circumstances, Sergey Varentsov was forced to attend the wedding held in 1860 in the church of the three saint on the slices, as a Sharpet. N. A. Varentsov in his memoirs explained this necessity by the fact that the sister Karzinkina was married to the elder brother Sergei Varentsov - Nikolai.
According to the version, soon Sergey Varentsov protested against the image itself in the picture, since in turn, was going to marry Olga Urusovoy. The artist was forced to portray himself in the picture itself.
About Sergey Mikhailovich said that he was in love with the lady - the daughter of the merchant Rybnikov and wanted to marry her, but the parents preferred to marry her for Andrei Alexandrovich Karzinkina, although not so beautiful, but a very rich and good person.
This failure of Sergey Mikhailovich quite oppressed, and he shared grief with his friend by the artist Pukirev, who took advantage of this story for the plot of his picture under the name "unequal marriage", depicting the groom with an old man by General, and the Schafer, standing with his chest hand, - Sergey Mikhailovich . The picture had a great success at the exhibition, P. M. Tretyakov was acquired and until now is in the Tretyakov Gallery. Because of this picture between Sergey Mikhailovich and Pukirev, a major quarrel occurred when he saw his image on her. Pukirez was forced to attach a small beard with a scope, leaving all the features of the face unchanged, as Sergey Mikhailovich did not wear beards.
Confirmation of the fact that the artist depicted himself in the picture itself, is its similarity with the image of the artist in the picture "in the artist's workshop" (1865), where according to N. A. Moudrogel, the author depicted himself. Friend of the artist S. I. Gribkov also confirmed that "with crossed hands in the picture is V. V. Pukirev himself, like alive."
Gribkov and Widerger
On another version, the artist's voiced by another by Sergey Gribkov and N. A. Mohargel, the love drama of the artist himself is depicted in the picture. And the fungi told the details of this story:
Comrade and friend V. V. Pukirev from young days, he (S. I. fungi) knew the history of the painting "unequal marriage" and the entire tragedy of the author's life: This old important official is a living person. The bride next to him is the portrait of the bride V. V. Pukireva, and standing with crossed hands is V. V. Pukirev himself like a living.
According to this version, the prototype in the image of the bride in the picture shows the failed bride of Vasily Pukireva himself - Puccovya Matveeva Varenzova, the grandeer Princess Olga Mironovna Schepina-Rostov (nee Varetzova-Tarkovskaya), Spouses Prince A. I. Scipine-Rostovsky. The confirmation of this version was obtained in 2002, when the State Tretyakov Gallery acquired a pencil figure in 1907 by V. D. Sukhova, which says: " Praskovya Matveyevna Varentsova, from which 44 years ago, the artist V. V. Pukirev wrote his famous painting "unequal marriage." Mrs. Varentsova lives in Moscow, in Mazurin Laddle».
In the image of the groom, by the assumption of L. Katz, the artist depicted the Tver leader of the nobility of Alexey Markovich Poltoratsky, with a big posthumous portrait of which she found similarity. On the Etude to the picture "Head of the Old Man", the artist pointed out that he was written from Prince Tsizianov, L. Polozov suggested that it was about Prince Pavel Ivanovich Ctsianov. And N. P. Syrechikov argues that the head was written from the cook Vladimir Ivanovich, who served in those years in the house of Varentsov. In addition, L. Polyozov believes that the image may have written collectively: a figure and clothing - from Poltoratsky, head, with a special expression of a person, from Cycianova, a wedding of gray hair - from the cook Vladimir Ivanovich.
The picture shows two more familiar personality artists. Next to Schafer, Pukireva's friend is depicted by the artist Peter Mikhailovich Schmelkov, one of the versions and prompted the author's idea of \u200b\u200bthe picture. In addition, on the side of the film on the picture, the head of the Grebensky's framework, who promised to make the artist frame for the painting "What was not yet".
Effects
The picture was exhibited in September 1863 in St. Petersburg at the next academic exhibition, but before the exhibition was bought by another Pukireva collector Alexander Borisovsky, who, in turn, in 1871 for 1,500 rubles, Pavel Tretyakov bought it. Now the picture is exhibited in the Tretyakov Gallery.
In 1875, Vasily Pukirev wrote an option - repeating the painting "unequal marriage", which is now in the exposition of the National Art Museum of the Republic of Belarus. Pukirev returned to the theme of marriage and in their other works such as "reception of the attached pain" and "interrupted wedding".
- In the design of the cover of the album "Strawberry with Ice" of the group "Crematorium" used the picture of Vasily Pukireva "unequal marriage". The picture makers made up the figure in a white coat.