Mother Nature is nothing perfect woman invented. It all proved all his talent with the power of his talent, and the same proved, one of the greatest painters of the XIX century Franz Xavier Winterkhalter. It is a surname - composite. And the first part is translated as "Winter". And how the second is translated - and without me everyone knows ... But that's what it means in the aggregate, I do not understand ... This is for me the first mystery of the artist. :) So write a woman how many painters did in the middle of the XIX century in the middle of the XIX century. In Europe, not many painters were able to craftiness. And how he passed the sophisticated ladies toilets! Under his brush, the atlas of silky flowing, lace with the finest weaving envelop, the precious stones and pearls flicker. But the most important thing is: it does not see the shortcomings from the ladies depicted! On his portraits, they are all incredibly beautiful, but at the same time they like themselves. How he did it - the second mystery of Winterhalter. But it is the greatest art!

Franz Xavier Winterhalter was born in 1805 in a small village in the Black Forest. In 16 years left home to learn drawing.

Self-portrait at the age of 17

And when he shouted 18, he honored the scholarship of the Great Duke of Badensky for his talent and begins to study at the Academy of Arts.

For life, the guy earns heavy labor of a lithograph ...

Self-portrait at the age of 25

Self-portrait with brother German

The introduction of a screw-tape in court circles took place in 1828, when he became a teacher of drawing margraphy of Baden Sophia. Soon the teacher is approved by the court artist ...

Sofia, Marcgrief Badenskaya

But he is not delayed in Baden, and moves to France, where at the exhibition of 1836 everyone attracted two genre pictures - Il Dolce Farniente and Il Decameron.

Decameron

Winterhalter quickly became fashionable. They say about him.

Success brings him a reputation as a master of aristocratic portrait painting capable of combining the "accuracy of portrait similarity with not all catching flattering." For this, he was appointed court artist Louis-Philippe, King France.
But in high artistic circles, the reputation of Winterkhalter from this just suffered.

Critics turned away.

But orders from the aristocrats at the same time rained rain.

Victoria Augustus Antoinette Saxen-Coburg-Gota-Kohari, Duchess de Nemur

Francesca Carolina Braganza, Princess de Juanville

The revolution and fall of the king Louis Philippe in 1848 forced Winterhalter to leave in Switzerland, where he returned to thematic painting and wrote the Florinda canvas, which is a joyful holiday of female beauty. He writes shepherds, thrushs and other simple rural girls ...

Florinda

Spring

After joining the throne, Napoleon III returned and the artist's demand for the best houses of France.

He continued "Unfortunately Flaw", depicting the flowing atlas and excitement lace ...

Is there a woman indifferent to the image of a dress in which she poses an artist?

But besides the master Winterkhalter knew how to transmit silkiness of hair, glitter eyes, velvet skin and lip sensitivity ...

Critics were criticized, but they could not stop the flow of orders from the Council, Princesses, Duchess and Empress.

And they all patiently stood in a queue!

Alexander Duma saw it with his own eyes: "Ladies wait for their turn for months to get into the atelier of Winterhalter, they are recorded, they have their own serial numbers and are waiting - one year, another eighteen months, the third two years. The most titled have advantages ... "

Queen Victoria, 1843

Queen Victoria, 1859

Queen Victoria, Prince Albert and Little Prince Arthur take gifts from Duke Wellington

By the most paincale, the artist only at the 47th year of life decides to create his own family on the 47th year of life, but his proposal of the hand and heart was rejected.

The name of this woman is silent, but makes hints, and one of them is with you ahead ...

***
When "Royal Artist" WinTernkhalter began to use permanent demand for the courtyards of Britain, Spain, Belgium, Germany, France, this All-Eway excitement could not pass by Russian aristocrats. The Russian priests who came to Paris also stood in line.

There were empress, great princes, as well as excellent representatives of Prince and Counts.

Leonillla Baryatinskaya, Princess Sayn-Wittgenstein Sayn, 1843

Leonillla Baryatinskaya, Princess Sayn-Wittgenstein Sayn, 1849

Empress Alexander Fedorovna, Spouse of Emperor Nicholas I

Empress Maria Alexandrovna, wife Alexander II

Great Princess Olga Nikolaevna, daughter of Emperor Nicholas I

Great Princess Alexander Iosifovna, Spouse Konstantin Nikolaevich,

junior Brother Emperor Alexander II

Countess Sophia Bobrinskaya, nee Shuvalova

Princess Elizabeth Espeern Trubetskaya

Elizabeth Alexandrovna Chernysheva, Princess Baryatinskaya

Sophia Trubetskaya Countess de Morney Spouse Shharlah Ogusta Joseph Louis Count de Morney

Countess Olga Shuvova

Elena Shvalova, in the first marriage Orlova-Denisov

Since the times, it became obvious and generally accepted that the most exciting portrait of the Russian beauty of Winterhalter's brush is a portrait of Varbara Dmitrievna Roman-Korsakova.

Varvara Dmitrievna was a star of the highest light of Moscow and St. Petersburg.

Varvara Dmitrievna Rimskaya-Korsakov

Paris, too, leaned in admiration for her beauty, who eased the beauty of the first French beauty - Empress Evgenia, which caused the latter discontent.

Empress Evgenia

Evgenya Even with Freillia

At the same time, the Russian beauty Barbar Winterkhalter wrote twice.

And both times with His Roman-Korsakov is not just beautiful, it is dazzling beautiful!

All the noticeable personal sympathy of the artist does not allow to attribute the image of Barbara Dmitrievna to the number of ordinary parade portraits.

But it made it possible to conclude that the artist was in love secretly.

Is it really?

But it is forever remained the third mystery of Winterhalter, which he in 1871 was taken with him in the grave, and remaining unmarried.

Having written as many portraits of Russian beauties, the artist never visited Russia!

And this, the latter, the riddle of Winterkhalter is also covered with him.

The character of the woman is very peculiar to the culture of the era. On the one hand, a woman with its tense emotionality, alive and directly absorbing the features of his time, greatly overtaking it. In this sense, the character of a woman can be called one of the most sensitive barometers of public life.

Peter I reforms turned not only by public life, but also homework. Pthe euri consequence of reforms for women is the desireexternally Change the appearance, get closer to the type of Western European woman. Changing clothes, hairstyles.The whole way of behavior has changed. During the years of Petrovsky reforms and subsequent female sought to resemble as far as possible to their grandmothers (and on the peasant).

The position of the woman in Russian society with the beginning of the XIX century has even changed even more. The Epoch of Enlightenment of the XVIII century has not passed the gift for women of the coming century. The struggle for the equality of enlighteners was directly related to the woman, although many men were still far from thought about true equality with a woman who looked at the creature is defective, empty.

The life of a secular society was closely related to literature, a fashionable report in which romanticism was at that time. Female character, in addition to relations in the family, traditional home education (only the units fell into the Smolny Institute) was formed due to romantic literature. We can say that the secular woman of Pushkin's pores created books. The novels were some tutorials of the then woman, they formed a new female ideal image, which, as fashion for new outfits, followed the metropolitan, and provincial noble ladies.

To change the female ideal of the XVIII century - a breathless health, antennial, complete beauty, - the pale, dreamy, sad woman of romanticism "with a French book in his hands, with a sad dump of eyes." In order to look like a fashionable maidy, they were tomitized by hunger, no months did not go to the sun. In fashion there were tears and fainting. Real life, as well as health, childbearing, motherhood seemed to be "vulgar", "unworthy" true romantic maiden. Following a new ideal raised a woman to the pedestal, the poetication of a woman began, which, ultimately, contributed to the increase in the public status of a woman, an increase in true equality, which was demonstrated yesterday's launches, who became the wives of the Decembrists.

During the specified period, several different types of female nature were formed in the Russian noble society.

One of the brightest types can be called a "salon lady", "metropolitan thing" or "secular lioness", as it would be called now. In the capital, in the highest light, this type met most often. These sophisticated beauties, created by fashionable French salon education, were limited to the whole range of their interests by the Boudois, living room and the ballroom, where they were called upon to reign.

They were called queens of living rooms, legislators mod. Although at the beginning of the XIX century, the woman was turned off from state life, but the exclusion from the world service did not deprive its significance. Opposite the role of women in the noble house and culture is becoming more noticeable.

The so-called secular life in this sense also acquired and more specifically - the phenomenon of the salon (including literary). Russian society largely followed the French samples in which the secular life carried out itself primarily through the salons. "Go to the light" meant "to be in the salons."

In Russia, as in France, the beginning of the XIX century, the salons were different: both courtesome, and luxurious and more chamber, semi-seamy, and such where dancing, maps, secular chatters, and literary and musical, and intellectual, reminding University seminars.

Anna Alekseevna Olenina

The owner of the salon was a center, culturally significant figure, "legislation". At the same time, while maintaining the status of an educated, smart, enlightened woman, she could, of course, have a different cultural image: adorable beauty, Shaluny, leading a risky literary and erotic game, cute and seductive secular wit,sophisticated, musical, european aristocrat, strict, somewhat cold "Russian madame rexy" either calm, wise intellectual.

Maria Nikolaevna Volkonskaya

Alexandra Osipovna Smirnova

XIX century is the time of flirting, significant freedom of secular women and men. Marriage is not a shrine, loyalty is not considered as virtue of spouses. Every woman had to have her cavaller or lover.Secular married women enjoyed great freedom in their relationship with men (by the way, wedding rings were carried first on the index finger, and only by the middle of the XIX century it appeared on the nameless finger of his right hand). Under all the necessary norms of decency, they did not limit themselves with nothing. As you know, the "genius of pure beauty" Anna Kern, remaining a married woman issued once for an elderly general, led separately from him, actually independent life, carried away and in love with himself, among whom A. S. Pushkin turned out to be Her life is even a young student.

Rules of the metropolitan coquette.

Coquetry, continuous celebration of reason over the feelings; The coquet should inspire love, never feeling; She should reflect so much this feeling of this, how much and set it in others; The duty imposes to her not to give even the form that you love, from fear, so that it seems to be preferred from the adorable, which seems to be preferred: the art is to never deprive them of hope, without sending them any.

Husband, if he is a secular man, must wish, so that his wife was coquette: this property ensures its well-being; But first of all it should, so that the husband had enough philosophy to agree to the lawless power of attorney to his wife. The jealousness does not believe that his wife remains inappropriate to indifferent searches that the hearts are attempted to touch her heart; In the feelings with whom they treat it, he will only see the intention to kidnap her love for him. Because it happens that many women who would only be coquette, from the inability to be incorrect; Women love praise, babe, small services.

We call a coquette a young girl or a woman who loves to dress up in order to like her husband or adornger. We call the coquette of a woman who, without any intention, like a fashion one is the only thing for the fact that the title and condition of it requires.

Coquetry suspends the time of women, continues to be youth and commitment to them: this is the correct calculation of the mind. Sorry, however, the same, women neglecting coquets, conclusing in the impossibility of surrounding themselves by knights of hope, they neglected the property in which they did not find success.

The highest light, especially Moscow, already in the XVIII century, allowed originality, the individuality of a female character. There were women - allowed their scandalous behavior, discrepanied the rules of decency.

In the era of romanticism "unusual" female characters fit into the philosophy of culture and at the same time became fashionable. In the literature and in life there is an image of a "demonic" woman, the violators of the rules, despising conventionality and the lies of the secular world. Arriving in the literature, the ideal of a demonic woman actively invaded life and created a whole gallery of women - the devastants of the norms of "decent" secular behavior. This nature becomes one of the main ideals of romantics.

Agraphen Fedorovna Zagrevskaya (1800-1879) is the wife of the Finnish Governor, since 1828 - the Minister of the Interior, and after 1848 - the Moscow Military General Governor A. A. Zvarevsky. Extravagant beauty, Zagrevskaya was known for his scandalous connections. The image of it attracted the attention of the best poets of the 1820-1830s. Pushkin wrote about her (Poem "Portrait", "Nanders"). Svarevskaya was the prototype of Nina's princess in the poem of the Baraty "ball". Finally, on the assumption of V. Vereshev, she painted Pushkin in the form of Nina Voronskaya in the 8th chapter of Evgenia Onegin. Nina Voronskaya is a bright, extravagant beauty, "Cleopatra Neva" - the ideal of a romantic woman who has put himself and outside the conventions of behavior, and outside of morality.

Agraphen Fedorovna Zvarevskaya

Even in the 18th century, another original type of Russian ladies was formed in Russian society - the institute. These were girls who received Ekaterina II educational society established in 1764 for noble maidens, later called the Smold Institute. Pitomitz of this glorious institution was also called "Smolyankami" or "Monasteries". The main place in the curriculum was paid to what was considered necessary for secular life: the study of languages \u200b\u200b(primarily French) and mastering the "noble sciences" - dancing, music, singing, etc. Education occurred in strict isolation from the outside world, mired In "superstitions" and "worst". It was this that it was supposed to contribute to the creation of a "new breed" of secular women who can civilize the life of the noble society.

Special conditions for upbringing in women's institutions, how to be called schools arranged on the sample of the educational society of noble maidens, although they did not create a "new breed" of secular women, but formed an original female type. This shows the word "institution" itself, meaning any person "With the features of the behavior and the nature of the pupils of such a institution (enthusiastic, naive, inexperienced, etc.)." This image entered the proverb, gave rise to many jokes and affected the fiction.

If the first "Smolnyanki" was brought up in a humane and creative atmosphere, which the educational enthusiasm of the founders of the educational society was supported, then formalism and routine of an ordinary state institution prevailed. All upbringing began to maintain order, discipline and external reality of the institute. The main means of education were punishments, which gave the institutes from educators, most of whom were old maiden, envying young people and with a special zeal that fulfilled their police duties. Naturally, the real war was often between educators and pupils. She continued at the institutes of the second half of the nineteenth century: the liberalization and humanization of the regime kept the lack of good and simply qualified educators. The upbringing was still based "more on manners, the ability to keep himself Comme Il Faut, respond politely, squat after notation from a class lady or when calling a teacher, keep the body always straight, speak only in foreign languages."

However, in relations between the institutes themselves, the manners and the primacy of the institutional etiquette were replaced by friendly frankness and immediacy. The institute "gauge" opposed here the free manifestation of feelings. This led to the fact that usually restrained and even "confusion" in the people of the institutes could sometimes behave completely in childish. In his memories, one of the institutes of the 19th century calls the "stupid institution" what happened to her when a conversation with an unknown young man switched to the "institute" and touched her beloved items: "I began to clap your hands, ride, laughter." "Institution" caused sharp criticism and ridicule from others when pupils left the institute. "Are you not pressed from the moon to us?" - refers to the institutes of the secular lady in the novel Sophia Svarevskaya "Institute" and then notes: "And this is a children's prostroster, which is so sharply discussed with the perfect ignorance of secular decency ... I assure you, in society you can now learn the institute."

The circumstances of life in a closed educational institution slowed down the cultivation of institutes. Although education in a female society and focused on the emergence-inacid girls, the forms of their expression differed in children's crituation and expressiveness. Heroine Roman Nadezhda Lukhmanova "Institution" wants to ask the person to whom she experiences sympathy, "something for memory, and this is" something "- a glove, a handkerchief, or even a button - wearing a chest, secretly shook kisses; Then to give something appropriate to him, and the main thing to cry and pray, cry in sight of everyone, exciting interest and sympathy to these tears and sympathy ":" So they did everything at the institute, and it went very well. " Affective sensitivity differed in the light of the institute from the surrounding society and was realized as a typical institute. "Show all your sadness," the same heroine thinks, - still laugh, say: sentimental institution. " This feature reflected the level of development of pupils of the institutes of noble maidens who join the adult life with the soul and cultural skills of a teenage girl.

In many ways, they differed little from their peers who did not receive institutional education. This upbringing, for example, could not overcome the "superstition of centuries", for which his founders were calculated. Institutional superstitions reflected household prejudices of the noble society. They included the forms of "civilized" paganism for the postpertrovsk Russian, such as the deification of the spouse of Alexander I, the Empress of Elizabeth Alekseevna, the pupils of the Patriotic Institute, who ranked her after death towards the "Lick of Saints" and made their "angelor" from it. Elements of traditional beliefs are combined with the influence of Western European religious consumer culture. Institutions "Everyone was afraid of the dead and ghosts", which contributed to the widespread legends of the "black women", "white ladies" and other supernatural inhabitants of the premises and territories of institutions. A very suitable place for the existence of such stories was the vintage buildings of the Smolny Monastery, with whom the walking legend was connected about the nuns climbed there, which frightened at the nights of fearful Smolnyankok. When "frightened imagination" drawn the institutes of "Night Ghosts", with fear struggled by a tried in kindergarten.

"A conversation about wonderful and ghost was one of the most beloved," recalled the pupil of the Patriotic Institute. "The craftsmen told themselves with extraordinary hobbies, changed their eyes, staring out eyes, in the most striking places they were enough for the hand of listeners who disgusted with a screech in different directions, but, looking a little, the panties returned to abandoned places and heard a terrible story with greed."

It is known that the collective experience of fear helps to overcome it.

If the younger pupils were content with the retelling of "superstitious fairy tales", heard from the nurses and servants, then the elders told the "magic fairy tales" of their own essay, retells read or the novels themselves.

The institute courses of Russian and foreign literatures torn from the interests of modern life were not filled with extracurricular reading, which was completely limited and controlled to protect the institutes from "harmful" ideas and dysfunctivities and to preserve the childhood innocence and hearts in them.

"Why do they have a soul towering reading," said the boss of one of the institutions of a class lady, who read the pupils of Turgenev, Dickens, Dostoevsky and Leo to Tolstoy in the evenings, - this is necessary to rise, and they are from the highest class. They are important innocence to raise "

The institute strictly protected the infant impurity of his pupils. It was considered the basis of high morality. In an effort to leave the institutes in ignorance regarding sinful passions and vices, educators reached unagnificated curiors: Sometimes the seventh commandment was even sealed with a piece of paper so that the pupils did not know at all about what was about. Vamlam Shalamov also wrote about the special editions of the classics for the institutes in which "there were more dots than the text":

"The discharged places were collected in a special edition of the publication, which students could buy only at the end of the institute. This last volume is the subject of special lust for the institution. So the girls were fond of fiction, knowing the "nazubok" the last volume of the classics. "

Even the scubinous jokes about the institutes proceed from the ideas about their unconditional innocence and integrity.

However, the novels attracted pupils not only the "sinful" theme or an entertaining plot that could be retended before bedroom girlfriends. They gave the opportunity to get acquainted with the life that she was behind the "monastic" walls.

"I left the institute, I recalled V. N. Figner - with knowledge of life and people only on novels and the stories that I read."

Naturally, many institutes broke the thirst to get into the heroine of Roman. Very contributed to the "divers reading novels": they were output "intricate patterns of canvas<…> Bewares, poor fantasy, but eager romantic paintings in their future. "

Dreams of the future occupied an increasingly significant place in the life of pupils as the release from the institute was approaching. Dreamed not so much alone, how much - together with the nearest girlfriend or all the separation before bedtime. This custom is a vivid example of "excessive reports" of pupils, which talked them "not only to act, but also to think together; consult with everyone in the smallest trifles, express the slightest motivations, check their opinions by others. " Having mastered the complex art of paired walking (which served as one of the characteristic signs of institutional education), the institutes have learned to walk alone. They really "more often had to say, than me." Hence the inevitability of collective dreaming out loud. The reaction of one of the heroes of Chekhov's "story of an unknown person" on the proposal to "dream out loud": "I was not in the institute, did not pass this science."

It draws attention to the festive nature of the life, which was dreamed of institutes. Institutions were repelled from boring monotony of orders and harsh discipline of institute life: the future was to be the opposite of their surrounding reality. The experience of communication with the outside world was playing a certain role, whether meetings with election dressed people during Sunday dates with relatives or institute balls that students were invited to the most privileged educational institutions. Therefore, the future life seemed a continuous holiday. This gave rise to a dramatic collision between institutes of dreams and reality: many institutes had "right from the clouds to descend into the most non-fried world", which extremely complicated the already difficult process of adaptation to reality.

Institutions were very favorably adopted by the cultural elite of the end of the XVIII - the beginning of the nineteenth century. The writers exceeded a new type of Russian secular woman, although they saw completely different advantages in it: classicists - severity and education, sentimentalists - naturalness and immediacy. The institute continued to play the role of perfect heroine and in the romantic era, which contrasted its secular society and the world as a sample of "high simplicity and child frankness." The appearance of the institution, the "infant indifference" of thoughts and feelings, its removal from the worldly prose of life - all this helped to see the romantic ideal of "unearthly beautiful" in it. Recall the young institute from the "Dead Souls" - "Fresh Blonde<..> With a charmingly round facial oval, which artist would take into a sample for Madonna ":" She only one Belel and went out transparent and light from a muddy and opaque crowd. "

At the same time, there was a directly opposite view of the institute, in the light of which all the most familiar manners, habits and interests looked "chemistry" and "sentimentality". He proceeded from what was absent in the institutes. The pupils of women's institutions were intended for the spiritual transformation of secular life, and therefore the institute prepared a little to practical life. Institution not only did not know anything, they generally understood little in practical life.

"Immediately after the exit from the institute, I recalled E. N. Waterozov, - I did not have the slightest idea that, first of all, it should be agreed with the acquisition of the price, I did not know that he needed to pay for travel, and I did not exist purse".

This caused a sharply negative reaction from people engaged in everyday affairs and care. They considered the institutes of "Belarus" and "stuffed fools", together with ridicule over "awkwardness", the "stereotypical judgments" about them as "fairly ignorant beings thinking that there are growing in the versions of pears remaining foolish-naive until the end of their lives " Institutskaya Naivenight has become a parable in Languages.

Razeing and the exaltation of the institutes have, in fact, the same point of reference. They only reflect different attitude towards the children's pupils of the institutes of noble maidens, which cultivated the situation and the life of a closed educational institution. If you take a look at some sympathy to the "bite daru", then it turned out to be just "Small Child" (as he says, turning to the pupil, the Institution Maid: "In addition, you, as a child, just that Kalya Bal is in French, and Thin- Bremen on the piano "). On the other hand, the skeptic assessment of the education and educational institution of the institution, when it served as a model of "lightness" and "poetry," immediately discovered her "childish, and not female dignity" (which was supposed to open the hero of conceived by A. V. Druzhinin Drama, Which then turned into the famous story "Polyanka Sax"). In this regard, the institutes that felt like "children" in the unusual adult world for them, sometimes consciously played the role of the "child", in every way emphasizing their children's naivety (Wed: "All the chemmery, the so-called Zhentilnica, a shown naivety, all this Easy to develop in institutes in the first years after the release, because those surrounding "). "Looking" to the institution often meant: to speak by a childish voice, giving him a specific-innocent tone, and look at the girl.

In the days of the 18th century - the coin-loving sentimentalism, the chemistry and the curtains that filling out the idle life of the secular environment, such Lily Baryshni liked. And it did not matter that these adorable creatures, angels in the flesh, which they seemed to be on the parquet in the salon environment, in everyday life turned out to be bad mothers and wives, wasteful and inexperienced hostesses, and indeed creatures, no work and useful activities adapted.

Read more about the pupils of the Smolny Institute -

In order to draw other types of Russian girls from the noble environment, we will again turn to the artistic literature.

The type of district lady is brightly represented in the works of Pushkin, who invented this term: this is Tatyana Larina ("Eugene Onegin"), and Masha Mironova ("Captain's daughter") and Lisa Murom ("Baryshnya-peasant woman")

These cute, simple-minded and naive creatures are the complete opposite of the capital beauties. "These girls who have grown under the apple trees and between skirds, brought up by nyanyushki and nature, a much millenn of our monotonous beauties, which the opinions of their mothers adhere to the wedding, and there are the opinions of their husbands," said in Pushkin's "Romanians".

The song about the "county ladies", the poetic monument remains "Eugene Onegin", one of the best Pushkin creatures is the image of Tatiana. But after all, this cute image is actually substantially complicated - she is "Russian soul (not knowing why)", "I knew badly in Russian." And it's not by chance that much of the collective image of the "county lady" was transferred to Olga and other girls from "Dali Roman", otherwise "Eugene Onegin" would not be an "encyclopedia of Russian life" (Belinsky). Here we meet not only the "Language of Devicious Dreams", "the gullibility of the soul of innocent", "innocent years of prejudice", but also a story about the upbringing of the "county young" in the "noble nest", where two cultures, noble and folk are found:

The day of the provincial or county lady was filled first of all reading: French novels, poems, works of Russian writers. The county rods drew knowledge about secular life (and about life at all) from the books, but they were fresh, the feelings are fresh, the sharpness is sharp, and the character is clear and strong.

Large importance for provinces had lunches, receptions in the house and the neighbors, landowners.
They were preparing to enter the light in advance, viewing mod logs, carefully chose an outfit. It is such a local life that A.S. Pushkin describes in the story of the "young lady of the peasant".

"What is the beauty of these county two! - Alexander Pushkin wrote - brought up in clean air, in the shadow of their garden apple trees, they know the knowledge of light and life from the books. For the ladies, the ringing of the bell is already an adventure, a trip to the Middle Ages is relying the epoch in life: "

Turgenev girl - so called a completely special type of Russian tenants of the 19th century, formed in culture based on a generalized image of the heroine of Romanov Turgenev. In the books of Turgenev, this is a closed, but a subtly sensitive girl, which, as a rule, has grown in nature in the estate (without anxious influence of light, city), clean, modest and educated. She is bad to converge with people, but has a deep inner life. Bright beauty it does not differ, can be perceived as a dugushka.

She falls in love with the main character, appreciating his true, not showing advantages, the desire to serve the idea and does not pay attention to the external gloss of other applicants for her hand. Having decided, it is true and devotedly follows the beloved, despite the resistance of parents or external circumstances. Sometimes falls in love with unworthy, overestimated him. It has a strong character that may be impaired first; She puts the target and goes to her, without turning out of the way and sometimes reaching much more than a man; She can sacrifice for the sake of any idea.

Her features are a huge moral strength, "explosive expressiveness, the determination of" go to the end ", the sacrifice, connected with almost unearthly dreameties," and a strong female character in the books of Turgenev usually "signs" the weaker "Turgenev Youth." The inconsistency in it is combined with the impulse of a true feeling and stubbornness; She loves stubbornly and relent.

Almost everywhere, Turgenev in love is the initiative belongs to a woman; Her pain is stronger and the blood is hot, her feelings sincerely devoteed than those of educated young people. She is always looking for heroes, she reliably requires submission to the power of passion. She herself feels ready for the victim and requires it from another; When her illusion about the hero disappears, she does not have anything other than being heroine, suffer, act.

A distinctive feature of the "Turgenev Girls" is that with its external softness, they maintain complete irreconcilability with respect to their growing conservative environments. "In all of them," fire "burns against their relatives, their families, only thinking about how to glue this fire. All of them are independent and live "own their own life" "

This type includes such female characters from the works of Turgenev as Natalia Lasunskaya ("Rudin"), Elena Stakhova ("On the eve"), Marianna Setskaya ("Novy") and Elizabeth Kalitina ("Noborsk nest")

Nowadays, this literary stereotype is somewhat deformed and "Turgenev Girls" became mistaken to call another type of Russian ladies - "kisiny".

The "kinic" young lady has a different characteristic than "Turgenevskaya". The expression is it appeared in Russia in the 60s of the 19th century in a democratic environment and meant a completely definite social and psychological type with the same well-defined moral guidance and artistic tastes.

The first to use this expression in the novel "Meshchansky happiness" N.G. Pomyalovsky, at the same time expressed and its understanding of such a female type:

"Keene girl! Read Marlinsky, perhaps, Pushkin read; Sing "All Flowers Bole Rose I loved" yes "moaning a gray diller"; Eternally dream, always playing ... Lightweight, foolish girls, love to sentimental, purposefully pull, laugh and eat hotels ... and how many of these poor kinets are. "

A special style of behavior, the manner of dress, which later gave rise to the expression "Kisiny Baryshnya", began to be folded back in the 30s - 40s 19 century. By time it coincides with the new silhouette in clothing. The waist is descended into place and in every possible way is emphasized by incredibly magnificent lower skirts, which later will replace crinoline from metal rings. The new silhouette was to emphasize the fragility, tenderness, amenities of a woman. The tendered heads, overpowered eyes, slow, smooth movements, or, on the contrary, the showfulness was characteristic of that time. The loyalty of the image required that the girls of this type of bemuncling at the table, refusing food, constantly depicted extension from the world and elevation of feelings. The plastic properties of thin, light tissues contributed to the identification of romantic airiness.

This magazine and the wizen female type very reminds girls-institutes, the same as sentimental, romantic and little adapted to real life. The expression of the "Keinnyh Baryshnya" goes back to the graduation form of the pupils of women's institutions: white rose dresses with pink slices.

About such a "kisiny lady" was very imparted by Pushkin, a large connoisseur of a manor culture.:

But you are the province of Pskov,
The greenhouse of the young days of my
What could be the country is deaf
Understand your young lady?
There is no - notice by the way -
No fine courtesy
No windiness of cute whores.
I, respecting Russian Spirit,
Would have forgiven them gossip, chvany,
Family jokes sharpness
Vices tooth, uncleanness,
And obscenity and chemistry,
But how to forgive them fashionable nonsense
And clumsy etiquette?

"Keene laryrs" opposed another type of Russian girls - nicleans. Or "blue stocking"

Runs of higher female architectural courses E. F. Bagayeva in St. Petersburg.

In the literature there are several versions of the origin of the expression "Blue stocking". According to one of them, the expression indicated a circle of persons of both sexes going in England in 1780-H. For years in Lady Montagus for conversations for literary and scientific topics. The soul of the conversation was a scientist B. Stelllinflite, who, neglecting the fashion, with a dark dress, wore blue stockings. When he did not appear in a circle, they repeated: "We can't live without blue stockings, today there is a bad conversation," there are no blue stockings! " Thus, the nickname of the blue stocking was not the woman for the first time, but a man.
According to another version, the Dutch admiral of the XVIII century Edward Boskaveven, known as "Foreign Starina" or "Krivoshei Dick", was a husband of one of the most enthusiastic participants. He rudely responded about intellectual hobbies of his wife and mockingly called the meeting of the mug of "Society of Blue Struct" meetings.

Women's freedom of light in Russian society has emerged that in the XIX century, since the war of 1812, many secular girls turned into sisters of mercy, instead of balls pinched the korpius and worked for wounded, hardly surviving the wounded invisibility. They also entered the Crimean War and during other wars.

With the beginning of Alexander II reforms in the 1860s, attitudes towards a woman in general. In Russia, the long and painful process of Emancipation begins. A lot of decisive, brave women who openly teased with their surroundings, a family, traditional way, denied the need for marriage, family, was rejected from the female environment, especially from the nobody. Among them were such "nihylists" as Vera Zasulich, Sophia Pepovskaya, Vera Figner and many others who were part of revolutionary circles, who participated in the famous "walking into the people" in the 1860s, then became the participants of the terrorist groups of "People's Will" participants, And then the Single Organizations. Women revolutionary were sometimes courageous and fanatically of their fear of fighting. They, do not hesitate, went to kill major dignitaries, tolerated bullying and violence in prisons, but remained completely inextricular fighters, enjoyed universal respect, became leaders.

I must say that this girls Pushkin had an unflattest opinion:

Don't let me go to the ball

With seminarist in yellow shawl

Il academicians in Chepetse.

A.P. Chekhov in the story "Pink stocking" wrote: "What is good to be a blue stock? Blue stocking ... Damn it knows what! Not a woman and not a man, and so the middle of half, nor something, nor.

"Most of the nicleans are deprived of female grace and have no need to intentionally cultivate bad manners, they are tasteless and dirty dressed, rarely wash their hands and never brush nails, often wearing glasses, cut hair. They read almost exclusively Feyerbach and Buchner, despise art, turn to young people on "you", do not shy in expressions, live independently or in the falaners and speak more than all about the exploitation of labor, the absurdity of the family and marriage institution, and the anatomy "- wrote In newspapers in the 1860s.

Such arguments can be found in N. S. Leskova ("on the knives"): "Sit with your short dirty ladies and listen to their endless fairy tales about the white bull, but to decline from idleness the word" work ", I bored"

The rebuilding against foreign dominion Italy became a source of fashionable ideas for revolutionary youth in Russia, and the Red Shirt - Garibaldika - an identification mark of women of advanced looks. It is curious that "revolutionary" details in the description of the costumes and hairstyles of the nicleans are present only in those literary works, the authors of which, one way or another, condemn this movement ("Exchange of the Sea" by A. F. Pisemsky, "On Knives" N. S. Leskova ). In the literary inheritance of Sofia Kovalevskaya, one of the few women of that time that realized their dream, the description of the mental experiences and spiritual searches of the heroine (the story "nihistka" is more important.

Conscious asceticism in clothes, dark colors and white collars who preferred a woman with advanced glances, once enclosed in everyday life, remained in Russian life almost the first half of the XX century.

At the beginning of the XIX century in the Empir Empire in fashion, naturalness and simplicity. Even the cosmetic effect of the lady tried to achieve natural ways: if the pallor was required - the vinegar drank, if the blush was a storm. For a while, even jewelry leaves fashion. It is believed that the more beautiful woman, the less she needs decorations ...

Whiteness and tenderness of hands during an ampyr is so appreciated that even the gloves worn over the night.

In the outfits noticeably imitating antique clothing. Since these dresses were made mainly from thin translucent Muslin, fashionista risked to catch colds in particularly cold days.

Madame Reamenier - the famous Parisian beauty, the most famous owner of the literary salon

"Portrait of Madame Remight" - a picture of the French artist Jacques Louis David, written in 1800.

To create spectacular drapes, beautifully outliving natural data, the ladies used a simple intake of antique sculptors - moistened to clothing, it is no coincidence that the mortality from pneumonia was very high in those years.

The French "Journal de Mod" in 1802 even recommended to visit the Montmart Cemetery to his readers to see how many young girls became a victim of "Nagya" fashion.

Teresa Kabarryry.

Paris newspapers were shot by mourning chronicles: "Mrs. de Noel died after the Bala, at the nineteen years, Mademoiselle de Jujinis - at eighteen, Mr Shaptal - at sixteen!" For several years of the domination of this extravagant fashion, women died more than those preceding 40 years.

Terezia Talien was considered "more beautiful Capitol Venus," she was so ideal. She introduced a "naked" fashion. The easiest dress weighed 200 grams!

Only thanks to the Egyptian campaign of Napoleon, Cashmere Shawli entered the fashion, which widely popularized the spouse of the emperor - Josephine.

In the 20s of the XIX century, the figure of a woman resembles an hourglass: rounded "swollen" sleeves, an aspen waist, a wide skirt. The corset entered the fashion. The waist should be unnatural in volume - about 55 cm.

Vladimir Ivanovich Gau. Portrait of Natalia Nikolaevna Goncharova - Pushkin.

The desire for the "ideal" waist often led to a tragic consequence. So, in 1859, one 23-year-old fashionista died after the ball due to the fact that the ribs squeezed with a corset to her liver.

VGU. Natalia Nikolaevna Goncharov. 1842-1843

For the beauty of the ladies were ready to endure different inconveniences: the wide fields of the ladies' caps, who hung on the eyes, and came to move hardly to touch, long and heavy bells of dresses.

P. Deerosh. Portrait of singer Henriette umbrella, 1831.

In the authoritative British magazine "Lancet" in the 1820s, it was suggested that in muscular weakness, diseases of the nervous system and other illnesses, women should blame the weight of their dresses, which made up about 20 kilograms. Often the ladies were confused in their own skirts. Queen Victoria somehow dislocated an ankle, coming to his hem.

In the second half of the 19th century, the thrust for artificiality was revived. Healthy blush and tan, strong, strong body became signs of low origin. The ideal of beauty was considered "Osin waist", pale faces, stockiness and refinement.

Laughter and tears of secular beauty should be beautiful and elegant. Laughter should be not loud, but crumbly. When weeping, you can drop no more than three-four tears and observe not to spoil the complexion.

Camilla Klodel

In fashion painful femininity. We are talking about mental illnesses in which impassivity borders with madness, a symbol of such a beauty can serve Camilla Claudel - Muse and a student of the sculptor of Ogusta Rodin and body diseases, like Margarita Gautier, a deadly sick tuberculosis of the Kurtisani heroine "Lady with Camellias "Alexander Duma.

To give the face of the matte patenity, the ladies took three times a day the gross chalk (well-purified chalk could be obtained in pharmaceutical stores; to use chalks intended for the card game, it was impossible) and drank acetic and lemon juice, and circles under the eyes were achieved at the expense of special Distracy.

IN early 19th century In the erah of an ampir in fashion naturalness and simplicity. Even the cosmetic effect of the lady tried to achieve natural ways: if the pallor was required - the vinegar drank, if the blush was a storm. For a while, even jewelry leaves fashion. It is believed that the more beautiful woman, the less she needs decorations ...

Whiteness and tenderness of hands during an ampyr is so appreciated that even the gloves worn over the night.

Madame Reamenier - the famous Parisian beauty, the most famous owner of the literary salon

In the outfits noticeably imitating antique clothing. Since these dresses were made mainly from thin translucent Muslin, fashionista risked to catch colds in particularly cold days.

To create spectacular drapes, beautifully outliving natural data, the ladies used a simple intake of antique sculptors - moistened to clothing, it is no coincidence that the mortality from pneumonia was very high in those years.

The French "Journal de Mod" in 1802 even recommended to visit the Montmart Cemetery to his readers to see how many young girls became a victim of "Nagya" fashion.

Paris newspapers were shot by mourning chronicles: "Mrs. de Noel died after the Bala, at the nineteen years, Mademoiselle de Jujinis - at eighteen, Mr Shaptal - at sixteen!" For several years of the domination of this extravagant fashion, women died more than those preceding 40 years.

Terezia Talien was considered "more beautiful Capitol Venus," she was so ideal. She introduced a "naked" fashion. The easiest dress weighed 200 grams!

Only thanks to the Egyptian campaign of Napoleon, Cashmere Shawli entered the fashion, which widely popularized the spouse of the emperor - Josephine.

In the 20s of the XIX century, the figure of a woman resembles an hourglass: rounded "swollen" sleeves, an aspen waist, a wide skirt. The corset entered the fashion. The waist should be unnatural in volume - about 55 cm.

The desire for the "ideal" waist often led to a tragic consequence. So, in 1859, one 23-year-old fashionista died after the ball due to the fact that the ribs squeezed with a corset to her liver.

For the beauty of the ladies were ready to endure different inconveniences: the wide fields of the ladies' caps, who hung on the eyes, and came to move hardly to touch, long and heavy bells of dresses.

P. Deerosh. Portrait of singer Henriette umbrella, 1831.

In the authoritative British magazine "Lancet" in the 1820s, it was suggested that in muscular weakness, diseases of the nervous system and other illnesses, women should blame the weight of their dresses, which made up about 20 kilograms. Often the ladies were confused in their own skirts. Queen Victoria somehow dislocated an ankle, coming to his hem.

In the second half of the 19th century, the thrust for artificiality was revived. Healthy blush and tan, strong, strong body became signs of low origin. The ideal of beauty was considered "Osin waist", pale faces, stockiness and refinement. Laughter and tears of secular beauty should be beautiful and elegant. Laughter should be not loud, but crumbly. When weeping, you can drop no more than three-four tears and observe not to spoil the complexion.

Camilla Klodel

In fashion painful femininity. We are talking about mental illnesses in which impassivity borders with madness, a symbol of such a beauty can serve Camilla Claudel - Muse and a student of the sculptor of Ogusta Rodin and body diseases, like Margarita Gautier, a deadly sick tuberculosis of the Kurtisani heroine "Lady with Camellias "Alexander Duma.

To give the face of the matte patenity, the ladies took three times a day the gross chalk (well-purified chalk could be obtained in pharmaceutical stores; to use chalks intended for the card game, it was impossible) and drank acetic and lemon juice, and circles under the eyes were achieved at the expense of special Distracy.

Russia has always been famous for the beauty of his women. And they were in the Russian history of beauty, to resist which neither kings nor ordinary mortals could not.

Anastasia Zaharin-Yuryeva

From a huge number of applicants delivered to brides, Ivan Grozny chose Anastasia. It is difficult to say with confidence that more influenced the choice of the king.

Perhaps the attention of the 17-year-old groom was focused on one of the thousands of beauty his guardian - Mikhail Yuryevich, who accounted for Anastasia Uncle.

It is known that the queen was low. The correct features of her face framed long thick hair of dark blonde. As Karamzin wrote, "the contemporaries attributed to her all women's virtues", the beauty was considered "you need to belong to the happy royal bride."

She managed to conquer not only the heart of her husband, but also to conquer nationwide love. And to do it, being only beautiful, it was unlikely possible. Her image became a symbol of a wise woman capable of writing Dorset, "with amazing meekness and mind" to control a hot-tempered husband.

Maria Naryshkin

It seemed that it was not at the courtyard of Catherine II of a person who would be silent about the beauty of the young Freilina - Mary Quartet. Derzhavin wrote: "Black eyes with fires, her pisce, she feels his puff, sighs, gentlely visible the soul, and he does not know more than everyone else."

Kutuzov joked that if there is such as Maria among women, they should love them. Her beauty was perfect, and as one of the contemporaries wrote, "it seemed impossible."

At the age of 16, she marries Prince Dmitry Naryshkin, and after some time it becomes the favorite of the king Alexander I. Their relationship will last 15 years. Four children will be in the family of Naryshkin, and only the first daughter of Marina Dmitry Lvovich will be considered his (although, by rumors, and her father was the former favorite of the queen - Platon of teeth).

Julia Vyrevskaya

Baroness Wrevskaya for two decades was considered the first Peterbiz woman.

In the poetic prose, her friend of Turgenev wrote that "the ladies envied her, and men were dragging behind her."

Sologub spoke about its captive image, in which he fascinated not only appearances, femininity and grace, but also "endless friendliness and endless kindness."

But the boredom of the highest light Freulin Verevskaya in 1877 was replaced by a true life.

During the Russian-Turkish war, she became the sister of mercy and devoted himself to serving the neighbor, "not leading another happiness." While the highest light grew over the "extravagant antics", Baroness went for the wounded, changing the dressings for five o'clock, slept on the straw, assisted with amputations, endured soldiers from the battlefield.

In February, 78, they dug the murgeous land in February 78 and carried the coffin with the body of "sis", when, during the epidemic of the rapid typhus, Julia Petrovna died.

Varvara Rimskaya-Korsakov

"Tatar Venus" - so called the young beauty of Paris of the middle of the XIX century.

Provincial from the Kostroma province conquered not only both Russian capitals, but also Europe.

She shone, according to Prince Obolensky, "on the seaside bathing, in Biarit and Ostend." One of the portraits of Franz Winterhalter's brush is still enchanting visitors to the Paris Museum of Orseta. She competed with his wife Napoleon Bonaparta Evgenia, and the popularity of Varniki could envy today's "secular lions".

The witty jokes of Varvara Dmitrievna passed from mouth to mouth, and the fans tirelessly admired "the most beautiful legs in Europe."

The frank outfits of the highest light star more than once became the cause of the scandal. Once it was allegedly asked to retire from the ball because of the "too transparent dresses." On the ball Masquerade in the winter of 63 years old, she arrived in the outfit Zhizhis Tanit, which was sewn from the gas fabric.

When the next ridden called her under the crown, the Russian goddess every time answered: "I have a handsome husband, smart, beautiful, much better than you."

Zinaida Yusupov

The beauty of one of the richest aristocrats of Russia could not leave indifferent. This is how Felix's son wrote about his mother: "High, thin, elegant, smoothed and black, with shiny, like stars, eyes."

The magnificent appearance was complemented by a sharp mind, education and kindness. Knowing about his advantages, the princess has never sought them, demonstrating the surrounding simplicity and modesty.

Possessing the best jewels in the world, she put on them only in special cases, preferring modest dresses with a minimum of jewelry.

Princess Yusupova was very artistic. At one of the balls, the sovereign asked her to execute Russian. The dance conquered everyone so much that it was caused to bis five more times.

Stanislavsky himself assured that the genuine appointment of Zinaida Nikolaevna is a scene. But she preferred to act as a charity, supporting someone else's talent, and not demonstrating its own.

Matilda Kshesinskaya

She could never become a "decoration and glory of the Russian ballet," if I hadn't seen the dance of the Italian Virginia Tsuki.

Later in his memoirs, Kshesinskaya will write about the "amazing facial expression, who gave the classic dance an extraordinary charm."

Despite the low growth and "complete legs", she conquered members of the admission committee of the Imperial Theater School, "burning eyes and charming manners."

Contemporaries often talked about her eyes: "Dark, shiny, reminiscent of two sweet abyss." The only ballerina at that time performing Foute in 32 turns, she forced the hall to die from delight. Among the fans of the ballerina is the future Nicholas II, as well as the Grand Duke Sergey Mikhailovich and Andrei Vladimirovich.

Faith Cold

She was released by fate for only 26 years, but during this time, from an unusual girl with an excellent appetite, she turned into a queen of Russian silent movies with a multi-millionth army of fans.

For the first time, the director Gardin, who met faith, described her beauty as a "mounted and poisoning" at the same time.

To "see the cold", people lined up in huge queues. In Kharkov, for example, the crowded the crowd paccipped with horse dragins, and then the leadership had to insert broken glasses and change the doors torn off with loops.

The actress herself was surprised at such popularity. Sometimes she went to show the film with her participation to watch the reaction of the public. For four years of filming, her eyes of the biblical martyr and the capricious curved line of the mouth were able to fully conquer the public who had forgotten in synemologists about the horrors of the first world and confusion of the 17th.