Folk clothes of the Solders artist. Artist-Archaeologist Fyodor Soltsev in collaboration with Holy Synod

) - The largest Russian specialist in artistic archeology (artist, architect and historian), head of the famous publication of the "antiquity of the Russian state". He managed to decorate the Grand Kremlin Palace.

Origin

Creation

At the end of the academic course, in 1824, for the picture "The Peasant Family", received a small gold medal, and in 1827, for the painting "Retrieve Cesarean Cesar, and God's God" is a big gold medal.

In 1830, on the highest command and the instruction of Olenin, Moscow and other places "to draw the old ordinary customs, robes, weapons, church and royal utensils, Skarba, Konsky Sberbai, and so on to handle. Objects. " For all time, he painted more than 3,000 high-precision sketch patterns that differ in great detail. They showed historical household items, icons, structures, clothing, weapons, armor, etc. About 700 of these sketches were the main part of the publication "Ancient times of the Russian state", conceived by deer and implemented after his death by Emperor Nikolai I edition of 600 copies.

In 1836, for the painting "The meeting was led. kn. Svyatoslav with John Tzimischih "Fedor Grigorievich was made by an academician. In addition, the Solders participated in the painting and restoration of many temples. In 1836-1849, together with the architect P. A. Gerasimov, he restored the Terem Palace in the Moscow Kremlin. In 1876, in honor of the 50th anniversary of his activities, the title of professor was erected.

He died in 1892, buried on the Volkovsky cemetery in St. Petersburg. The memorial room of the artist-archaeologist F. G. Solntseva is in Borka (Yaroslavl region).

Main works

• "Ryazan antiquities"
• "Monuments of Moscow antiquity"
• "Ancient times of the Russian state" (from 1846 to 1853).
  • Issue "Kiev Sophia Cathedral" (1871)
• "Russian state clothes"
• "Kerch and Fanagori antiquities"
• "Motives of ornaments taken from the old Russian works"
• "Review of Kiev" of the Kiev Civilian Governor I. I. Fundukley (1847)
• "Review of the graves, shafts and settlements of the Kiev province" (1848)
• row of handwritten books for the royal family:
  • Prayers for Empress Alexandra Fedorovna, wife Nicholas I;
  • Prayers for Empress Mary Alexandrovna, Alexander II wives;
  • Prayermen Angels Guarders for the Grand Duchess Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna;
  • Life elected saints;
  • "Holidays in the House of the Orthodox King of the Russian";
  • Life Sergius Radonezhsky; Service of St. Mary Magdalene;
  • "Russian Saints, presents before God for the king and the Holy Rus";
  • "Conventional days in the house of Emperor Alexander III."
• "Gospel from John" by order of Princess Leonillas Nikolaevna Menshikova (1854)
• Sun-Shop "Svyattsy"
• illustrations for the works of Metropolitan Filaret
• Memoirs "My Life and Artistic and Archaeological Proceedings"

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Notes

Literature

• Evtushenko M. M. Fedor Grigorievich Soldov: New data to the creative biography of the artist // Russian art in the Hermitage. - St. Petersburg., 2003. - P. 240-249.
• Tarasov E. // Encyclopedic Dictionary of Brockhaus and Efron: in 86 tons. (82 t. And 4 extra). - St. Petersburg. , 1890-1907.

Links

• Solders F. G. // Russian Starina, 1876. - T. 15. - № 1. - P. 109-128; # 2. - P. 311-323.

Excerpt characterizing the Solders, Fedor Grigorievich

Cossack called on, asked; Cossack commanders wanted to take advantage of this case to repel the horses, but one of the bosses, familiar with the highest ranks of the army, reported this fact to the Staff General. Recently, the position was highly stretched in the army headquarters. Yermolov, a few days before that, having come to Benigsen, begged him to consume his influence on the commander-in-chief, in order to have been made.
- If I would not know you, I would think that you do not want what you ask for. It costs me to advise one thing that the brighter probably did the opposite, - answered Benigsen.
The news of the Cossacks, confirmed by sent by the move, proved the final maturity of the event. The stretched string jumped up, and stuck the clock, and the chimes played. Despite all its imaginary power, to his mind, experience, knowledge of people, Kutuzov, taking into account the note of Benigsen, sent personally to the sovereign, expressed by all generals the same desire, the desire for the sovereign and the minor of the Cossacks, could no longer hold The inevitable movement and gave the order for the fact that he considered it useless and harmful - blessed the fact.

The note, filed by Benigsen about the need for an offensive, and the information of the Cossacks about the unclosed left flank of the French were only the last signs of the need to give orders about the offensive, and the offensive was appointed on October 5.
On October 4, in the morning, Kutuzov signed a disposition. Tol read her Yermolov, offering him to make further orders.
"Good, good, I have no time now," Yermolov said and left the hut. The disposition compiled by the Toler was very good. Just as in the Austerlica disposition, it was written, although not in German:
"Die Erste Colonne Marschiert [The first column goes (it.)] There and there, Die Zweite Colonne Marschiert [The second column goes (it.)] There is something there" etc. And all these columns on paper They came at the appointed time in their place and destroyed the enemy. Everything was, as in all dispositions, was perfectly invented, and, as in all dispositions, no column came in their time and in their place.
When the disposition was ready in the proper amount of copies, the officer was called up and sent to Yermolov to transfer his paper for execution. The young cavalry officer, the ordinar of Kutuzov, the importance of this assignment given to him, went to the apartment of Yermolov.
"We managed," Denknik Yermolov answered. A cavalry officer went to the general who often had Yermolov.
- No, and general no.
Cavalgard officer, sowing, drove to another.
- No, I left.
"How would I not answer for delay! Here is the annoyance! " - thought an officer. He traveled the entire camp. Who said that they saw how Yermolov drove with other generals where he said that he was, right, again at home. The officer, not dining, was looking for up to six o'clock in the evening. Nowhere Yermolova was and no one knew where he was. The officer Naskoro snapped from his comrade and went again to Avangard to Miloradovich. Miloradovich was also not at home, but here he was told that Miloradovich on the ball at General Kikin, which must be ermis there.
- Yes, where is it?
- And Vaughn, in Ochkin, - said the Cossack officer, pointing to the distant standing house.
- Yes, how is there, behind the chain?
- they sent two regiments of ours in the chain, there now such a bus goes, trouble! Two music, three choir of songwomen.
The officer went beyond the chain to Ochkin. From afar, then driving up to the house, he heard friendly, the funny sounds of the dance of the Soldier song.
"In Oluza and ah ... in Aluzi! .." - with the gastrip and with Torban, he was heard, occasionally drunk his votes. The officer and fun fell on the soul from these sounds, but at the same time and terribly for the fact that he is to blame, without having submitted an important order entrusted to him. Was last ninth. He tears from the horse and entered the porch and in the front large, preserved a landlord house, which was between the Russians and the French. In the buffet and in the front, lackeys with wines and disasters fussed. Songniks stood under the windows. The officer was introduced at the door, and he saw all of all together the most important army generals, including a large, noticeable figure of Yermolov. All the generals were in unbuttoned fructures, with red, lively faces and loudly laughed, standing by a semicircle. In the middle of the halls, a beautiful short general with a red face Boyko and deftly produced Trepak.
- Ha, Ha, Ha! Ai Yes Nikolai Ivanovich! Ha, Ha, Ha! ..
The officer felt that, entering this minute with an important order, he was doubly guilty, and he wanted to wait; But one of the generals saw him and, having learned why he, said Yermolov. Ermolov with a frowning face came out to the officer and, after hearing, took the paper from him, saying nothing to him.
- Do you think it's inadvertently he left? - said this evening a staff comrade Cavaliangard officer about Yermolov said. - These are things, it's all on purpose. Konovnitsa rolling. Look, tomorrow, what will happen!

Another day, early in the morning, the stray Kutuzov got up, prayed to God, dressed and with the unpleasant consciousness that he had to lead the battle, whom he did not approve, sat down in a stroller and drove out of the leaving, in five versts behind Tarutina, to the place, Where the upcoming columns were collected. Kutuzov drove, falling asleep and waking up and listening, is there no right shots, didn't it start? But it was still quiet. Only the dawn of raw and cloudy autumn day began. Drown to Tarutin, Kutuzov noticed the cavalries who were driven by horses across the road at which the stroller was eager. Kutuzov looked at them, stopped the stroller and asked what shelf? The cavalrymen were from the column that had to be far ahead in the ambush. "Error, maybe," thought the old commander-in-chief. But, passing further, Kutuzov saw infantry shelves, guns in goats, soldiers for porridge and with firewood, in the entras. Called an officer. The officer reported that there was no statement about the speech.

Fedor Grigorievich Solntsev was born in 1801 in p. The Verkhne-Nikulsky Mologgic County of the Yaroslavl province in the family of landowners in the peasants of Count Musina Pushkin. In 1815, his father took his son to St. Petersburg, where he worked at the House of Count Kuttysov. Here Fedor Grigorievich began to study arithmetic, French and German languages, study a number of general educational items, as well as drawing. In the same year it was determined in the first drawing class. Less than six months later, it was in the invention class. Crossing in the third age, F.G. Solntov chose his specialty historical and portrait painting, and began to work under the guidance of famous Russian painters, Professors S.S. Schukina, A.A. Egorova and A.G. Varek. Worked the Solders and interesting, took part in the painting of the Kazan Cathedral.

Solders F.G.

Soon the director of the Imperial Public Library A.N. drew attention to the paintings of the novice artist. Olenin, who became the President of the Academy of Arts in 1817. In 1829, almost five years later, after the end of the Sunnth, the Academy of Arts, Olenin attracted him to work on the publication of a book about Ryazan antiquities. In May 1830, the work of the artist F.G. Solntsev over the "handling of old ordinary customs, robes, weapons, church and tsarist utensils, Skarba, horse breakdowns and other items belonging to historical, archaeological and ethnographic information." Created by F.G. Solntian collection of drawings of Russian antiquity (and there were by the end of the 40s. More than three thousand) attracted the attention of the emperor Nicholas I, and he complained about their edition about one hundred thousand rubles with silver. From 1830 to 1853 F.G. The Solders traveled a lot in the ancient Russian cities, studying the study and handling of objects and monuments of antiquity, making ethnographic sketches.

Solnts for their works are granted to orders: sv. Vladimir 4th degree, St. Stanislav 2nd degree with crown and sv. Anna 2nd degree, and for executed in the program from the Imperial Academy of Arts, the picture was awarded by an academician.

Solnts in Venoveva?

Galina Vladimirovna Aksenovabiographies researcher F.G. Solntov believes that the artist did not attend Venovev, and made his famous "Venevsky" drawing somewhere else. However, it is not necessary to discard the fact that the chief mentor Fyodor Grigorievich - Alexey Nikolayevich Olenin, President of the Academy of Arts, was the Venevian landowner. In 1842, the Solders took a trip along the Tula Territory and created a series of drawings of residents of the Tula province without instructions of counties, in one exception. Two work signed "Kashirsky County of the Tula province 1842g."

Solders (Fedor Grigorievich) - painter and archaeologist (1801 - 1892). His father, fortress man gr. Musina Pushkin, placed his son in silent students of the Academy of Arts (in 1815).

Solders (Fedor Grigorievich) - painter and archaeologist (1801 - 1892). His father, fortress man gr. Musina Pushkin, placed his son in silent students of the Academy of Arts (in 1815). Here, under the guidance of S. Shchukina and A. Egorova, S. quickly showed success in painting. At the end of Acade

the MIC Course in 1824 for the picture "Peasant Family", he received a small gold medal, and in 1827 for the picture "Return Cesarean Caesar, and the God of God" is a big gold medal. After that, S. left the Academy and for some time I mined funds to life with drawing lessons, Scripture portrait

in, etc., the then President of the Academy A. Olenin began to send S. on that road, on which C. then received fame. Thanks to the venison, the young artist became an archaeologist-pander and for his whole life I was chained to research and the image of various monuments of antiquity. In 1830 by High

he was sent to him to Moscow and other Empire Places "to handle the old customs, robes, weapons, church and tsarist utensils, Skarba, Konsky Discaling and Other Objects. C. Carefully reproduced watercolor with all the old thing, having any historical importance, and the sun

es his drawings sent a venison, who constantly led these works (especially the first years) and gave him detailed instructions. For their works, C. was counted in 1833 to the Academy and the Cabinet of His Majesty. From this point, a number of travels of S. begins by the old towns of Russia to handle

domestic antiquities. Until 1836, he worked in Novgorod, Ryazan, Moscow, Torzhok and other cities; Moscow was engaged in the Armory, in the Assumption and Arkhangelsk Cathedrals and in other places. Sliming and in detail exploring the royal utensils in the Armory, he made the discovery that so-called

eromaches and Barma Monomakh are made with Tsar Mikhail Feodorovich, in Greece. In addition, he did off Ryazan, Yuryev-Polsky, Smolensk and other cities. At the end of 1835, he received a program from the Academy to get the title of academician: Write a picture "Meeting of Grand Duke Svyatoslav with John

m Tsimischih. "A year later, this picture (located in the Museum of Emperor Alexander III) was finished, and S. Made by Academician. Almost simultaneously with this, S. was engaged in the restoration of the ancient royal tarmas in the Kremlin, composed the projects of their restoration and termes to the end of 1836 G. were resumed quite.

The emperor Nikolai, who believed unconditionally in the knowledge of S., instructed him to draw many of the things in the Armory and in the Annunciation Cathedral. From the enormous number of Sutscian drawings depicting antiquity, and they are all gained more than 3000 - no one has passed the eyes of the sovereign. Performed

i am his order, C. determined, by the way that the so-called crown of the Astrakhan kingdom was made under Mikhail Feodorovich, and the Crown Siberian - with Alexei Mikhailovic. From 1837 to 1843, S. worked mainly in Moscow, although they visited other vintage cities. At the same time, he took the fate

e in the device of the Moscow Grand Palace, built on the place of the previous, burned in 1812 when, in 1843, Olenina did not become, the sovereign himself took to lead S. and sent it to Kiev to handle and restore the local antiquities. Hence the new era of Career S., continued

ten years. In the summer, he worked usually in Kiev, and for the winter she moved to St. Petersburg, which brought with him every time from 80 to 100 drawings, which were represented by the sovereign. Inspecting the Kiev-Sophia Cathedral, he opened there wall frescoes of the XI century. Not limited to this discovery that

e can be considered one of the most important merits of S., he began on the highest command to restore the inside of the meaningful cathedral, if possible, as she had, and graduated from this work in 1851, above, S. Removed the types of some temples, did drawings The insides of the Cathedral of Kiev-Pechersko

lavra, participated in a temporary commission for the analysis of the ancient acts of Southwestern Russia, established in 1844, and was appointed to the Committee members to publish the drawings taken. This edition continued from 1846 to 1853 and amounted to six huge volumes of the "antiquities of the Russian state" in which

most of the drawings (up to 700) belong to S. Crimea War, the end of the emperor Nicholas I and the offensive of the era of reforms in the reign of his successor on the throne - all this moved to S. into the background. Nevertheless, since 1853 he worked for the St. Petersburg Isaac Cathedral, performed orders with

nyaten synod, what, for example, drawings of antimons, images of saints for the room in prayer rooms, saints, etc.; For the eight years, he headed the work on the manufacture of iconostasis for the churches of the Western provinces. Since 1859, S. again receives official business trips (for example, Vladimir

on Klyazma) and ranks the Imperial Archaeological Commission. Due to his merit, the Academy of Arts in 1863 gave him the title of Her Honorary Free Physics. In 1876, the 50th anniversary of S.'s activities was solemnly celebrated, and the gold medal knocked out in his honor and he was erected in

the title of professor. Without possessing a particularly bright artistic talent, S. took a very prominent place in the history of Russian art with his tireless activities on the field of studying artistic monuments of domestic antiquity: they are fulfilled the uncountable number of drawings of all kinds of antiquities Ross

aI, of which many were then published and made a precious contribution to our archeology. Pictures of common people are very curious, now for the most part already disappeared, costumes of different settlements of Russia, which S. with love studied and reproduced during his travel; Finally, him

they are obliged both Russian iconography and ornamentation of buildings and utensils, mainly church. Cf. N. Sobkov "F.G. Solders and its artistic and archaeological activities" ("Bulletin of Fine Arts", t. I, p. 471); "My life and artistic and archaeological works", the story of F. G. S. ("Rus

Solntsev Fedor Grigorievich (April 14, 1801, p. Verkhne-Nikulsky Mologovsky County of the Yaroslavl Lip. - 1892, Petersburg) - artist, archaeologist, restorer.

From the family of a serf peasant Graph I.A. Musina Pushkin. Shortly after the birth of Fedor, his father, having received the cashier's place in the imperial theaters, went to St. Petersburg. Fedor remained in the village with his mother, which on the sixth year began to teach his diploma. But the efforts of the mother, and then the manager of the estate of the Musion-Pushkin counts were unsuccessful - the boy instead of the lesson painted his notebook. Father, who noticed the tendency of his son to drawing, took him to St. Petersburg.

In 1815, the Solders entered the Academy of Arts in St. Petersburg, where he discovered unusual successes. He studied at S. Shchukina and A. Egorova. Specialized "in terms of archaeological and ethnographic". In 1824, at the end of the course, he received a small gold medal for the painting "Peasant Family". As a promising student was left at the Academy, and in 1827 for the painting "Return Cesare Cesarean, and God's Gods" received a big gold medal.

As early as the Solders' study found an amazing gift of copying, which was noticed by the President of the Academy A. N. Olenin. The first task for Solnt was copies of "Ryazan antiquities" found in 1822, which he did with such an art that, according to legend, Professor Perspective M. P. Vorobyov took his hand drawn blossom for the real and tried to take her in his hands. In the 1830s travel a lot on old Russian cities, making sketches of utensils and weapons, objects of church cult, archaeological finds, buildings, icons, frescoes. About 5 thousand watercolor drawings are preserved with the image of the antiquities of Kiev, Chernigov, Novgorod, Smolensk, Polotsk, Ryazan, Vladimir, Suzdal, Moscow, many monasteries. From nature was made album of drawings "Types and costumes of the peoples of Russia".

Nicholas I accepted Solntsev under my personal patronage. "On the highest command" of the Solders created landscapes, in which the king told the battle scenes, conducted major restoration work, produced artistic publications. Solntsev's art activity was so Included in the context of the official ideology "Orthodoxy, autocracy, nationality". In 1834 the Solders took part in the restoration of the frescoes of the Dmitrievsky Cathedral in Vladimir (XII century). In 1835, composed projects for the restoration of royal tersems in the Kremlin, for which they were resumed, for this work he was awarded the Vladimir Cross. In 1836, for the painting "Meeting of the Grand Duke Svyatoslav with John Zimischius" received the title of academician. In 1838, the Solders created drawings for the parquet floor of the George Hall of the Grand Kremlin Palace (architect K.A. Ton). In 1843-1851, he carried out control over the restoration of the frescoes of the Kiev Sofia Cathedral (XI century).

The principles of scientific restoration were still in the infancy, and the "renewal" was carried out in the spirit of dominant tastes then. The losses were added, all the frescoes are roughly recorded by oil red, many images are written again. Craftsmen of icon painters, knife and an ancient painting, were attracted to work. The imperfection of such a restoration was realized by contemporaries. Watercolor Solntsev became the basis of 700 lithographic patterns of the capital 6-volume edition of the "antiquity of the Russian state" (1846-1853). In his atlas, miraculous icons were reproduced, miniatures of manuscripts, parswasters, frescoes. In 1853, church utensils and vestments of priests were performed in Solnthev's drawings for St. Isaac's Cathedral in St. Petersburg (Architect O. Monferran), whose frescoes wrote Fedor's younger brother - Egor, graduate of the Academy of Arts.

In the 1850s, the Solders headed the work on the manufacture of iconostasis for the churches of the Western provinces, participated in the temporary commission for the analysis of the ancient acts of the Southwest of Russia. In 1859, he became a member of the Imperial Archaeological Commission. In 1863 the Solders was awarded the title of "Honorary Free Physics" ah. In 1876 he received the title of professor and in honor of the 50th anniversary of his activity was knocked out a gold medal.

For 30 years of the Solders was a trustee of the separation of gifted children of fortress peasants at the Academy of Arts. He created the picturesque encyclopedia of the Russian medieval and folk life in its real monuments. The Solders contributed to the development of iconography and applied church art, composing samples "in an old Russian style" for artists, furniture makers, gold business masters, etc. Awarded orders of St. Anne III (1835) and St. Stanislav I degree (1888). Along with K. A. Ton is considered the "Russian style" aims in Russian art.

The works of Solntsev are stored in many museums, including in Riahamz, and the album "Types and costumes of the peoples of Russia" - in the Slavic-Baltic Department of the New Yor Public Library.

Solntsev Fedor Grigorievich (1801-1892)

The nation becomes on his feet always exhibits an increased interest in his past. It was after the Napoleonic wars that Russia began to play a prominent role in solving European problems, the Russian society had the need to know more about himself.

I did a lot to study the ancient Russian art Graduate of the Academy of Arts Fyodor Grigorievich Soltsev, who under the leadership of Varek and Egorova (1815-1825) mastered household art and iconography.

Back at the Academy Fyodor Solntsev writes the picture "The peasant family before lunch" (1824), for which the gold medal receives. In front of the young artist opens the tempting prospects. Especially since the Family of Nicholas I. The Emperor himself also had a decisive influence on the creative life of F. Solntsev to him. In 1830, he was sent to the artistic archaeological expedition on the old cities of Russia. From a business trip F.G. Solnts brings more than 3,000 watercolors associated with ancient Russian art. From now on, he is the main connoisseur of the antiquities of the Russian state, and therefore, it, as an authoritative expert, is attracted to restoration work and new buildings in the Byzantine-Russian style.

The artist still does not part with oil and watercolor paints, but its main merit is associated with artistic and archaeological activities. It is for her that he in 1876 receives the title of professor. And in 1885 the public of St. Petersburg, the 50th anniversary of the assignment of F.G. Solnt to the title of academician - pleasing longevity, lived with a large benefit for the kind of homeland.