Activity V.S.Stasova As artistic criticism was inextricably linked with the development of Russian realistic art and music in the second half of the XIX century. He was their passionate propagandist and defender. He was an outstanding representative of Russian democratic realistic artistic criticism. Stasov, in their criticism of works of art, estimated them from the point of view of the fidelity of the artistic reproduction and interpretation of reality. He tried to compare art images with her life that had breeded them. Therefore, his criticism of works of art often expanded to the criticism of the phenomena of life. Criticism became a statement of progressive and struggle with reactionary, anti-people, backward and bad in public life. Art criticism was at the same time journalism. Unlike the former artistic criticism - narrowly special or designed only to artists and connoisseurs, connoisseurs of art, - a new, democratic criticism turned to wide ranges of viewers. Stasov believed that the critic is an interpreter of public opinion; He must express tastes and requests from the public. The long-term critical activity of Stasov, imbued with deep conviction, principled and passionate, really received public recognition. Stasov not only promoted the realistic art of mobile phone, but also the very new, democratic, progressive criticism. He created her authority, social importance.Stasov was extremely versatile and deeply educated person. He was interested in not only visual art and music, but also literature. He wrote research, critical articles and reviews on archeology and on the history of art, in architecture and music, on popular-decorative art, read a lot, owned by a majority of European languages, as well as a classic Greek and Latin. He was obliged to continuously and his inexhaustible curiosity with his huge erudition. These of its qualities - the versatility of interests, readiness, high education, habit of constant, systematic mental work, like the love of writing, has developed its upbringing and living environment.

Vladimir Vasilyevich Stasov was born in 1824. He was the last, fifth child in a large family of an outstanding architect V. P. Stasova. Father since childhood instilled his interest in art and hardworking. He taught the boy to a systematic reading, to the habit of express his thoughts and impressions in literary form. So from youth, the basics of the love of literary work were laid, the hunt and ease with which Stasov wrote. He left behind a huge literary inheritance.

After graduating in 1843, the School of Law, Young Stasov serves in the Senate and at the same time independently examines music and visual arts, which were especially attracted. In 1847 his first article appears - "Living paintings and other art objects of St. Petersburg". It opens the critical activity of Stasov.The Secretary of the Russian rich, A. N. Demidov in Italy, in the possession of his San Donato, brought great favor. Living there in 1851 - 1854, Stasov worked hard on their art education.

Karl Brullov Portrait of A.N.demidov1831. Anatoly Nikolaevich Demidov (1812, Florence, Italy - 1870, Paris, France) - Russian and French patter, valid Stat adviser, Prince San Donato. Representative of the genus Demidov, the youngest son of Nikolai Nikitich Demidov from his marriage with Elizabeth Alexandrovna Stroganova. Most of his life lived in Europe, only occasionally coming to Russia.

Shortly after returning home, in St. Petersburg, Stasya begins to work in the Public Library. He worked here all his life, heading the art department. Collecting and studying books, manuscripts, engravings, etc. Develops the following Knowledge of Stasov, becomes the source of his huge erudition. It helps advice and advice to artists, musicians, directors, producing them the necessary information, looking for historical sources for their work on paintings, sculptures, theatrical productions. Stasov revolves in a wide range of outstanding cultural figures, writers, artists, composers, artists, public figures. Particularly close ties are tied with young artists and musicians realists who were looking for new paths in art. He is vividly interested in the affairs of the Movie and Musicians from the "Mighty Hand" grouping (by the way, it belongs to Stasov), helps them in organizational and ideological issues.

The latitude of interests Stasova affected that he organically combined the work of the art historian with the activities of art criticism. Live, active participation in modern artistic life, in the struggle of democratic, advanced art with the old, backward and reactionary helped Stasov and in his work on the study of the past. The best, most faithful sides of the historical and archaeological research of their critical activities were obliged to the folk arts of Stasov. The struggle for realism and nationality in contemporary art helped him better deal with the issues of art history.

Tolstaya L.N., S.A., Alexander Lvovna, V.V. Stasov, Ginsburg, M.A. Maclakova. From L.N. Tolstoy. Pictures of work exclusively c. S.A. Tolstoy.

The view of art, the artistic beliefs of Stasov developed in the situation of a high democratic rise in the late 1850s - early 1860s. The struggle of revolutionary democrats with serfdom, with the feudal class, with a self-adjustable-police regime for the new Russia and the area of \u200b\u200bliterature and art was distributed. It was a struggle against the backward views on the arts reigning in the dominant class and who had official recognition. The degenerated noble aesthetics proclaimed "pure art", "Art for Art." An exalted, cold and distracting beauty or a shrill conditional exterior beautifulness of such art were opposed to real surrounding reality. This reactionary and deadly views on the art of Democrats are opposed to the lives related to life. It is realistic art and literature. N. Chernyshevsky in his famous dissertation "Aesthetic attitudes of art to reality" proclaims that "the" beautiful is life "that the area of \u200b\u200bart is" all that is interesting for a person in life. " Art should know the world and be a "textbook of life." In addition, it should make their judgments about life, have the "meaning of sentencing about life phenomena."

These views of the revolutionary democrats were based on the basis of Esthetics of Stasov. He sought to proceed from them in his critical activity, although he did not rise to revolutionary. He considered Chernyshevsky, Dobrolyubov, Pisareva "columns and new art" ("25 years of Russian art"). He was a democrat and a deeply progressive person who defended the ideas of freedom, progress, art associated with life and promoting advanced ideas.

In the name of this art, he begins his struggle with the Academy of Arts, with its training system and with its art. The Academy was hostile to him and as a reactionary government institution, and obsoleteness, cutoffing from life, pedanthism of his artistic positions. In 1861, Stasov publishes the article "On the exhibition at the Academy of Arts". She begins his struggle with the susceptible academic art, in which distant mythological and religious stories from life prevailed, for new, realistic art. It was the beginning of many years and passionate his critical struggle. In the same year, his great work was written "On the meaning of Bryullov and Ivanov in Russian art". Stasov considers contradictions in the work of these famous artists as a reflection of the transition period. He reveals in their works the struggle of a new, realistic start with the old, traditional and seeks to prove that it is these new, realistic features and trends in their work and ensured their role in the development of Russian art."What a strong and new movement was heard all these art! How all the views and desires were drowned! How everything has changed against the former! New art got a new physiognomy. Approaching his works - whatever the degree of their dignity, - you feel that it is not going on here at all about what happened to the last period of art preceding our time. The case is no longer about virtuosity, not about the skill of execution, not about the focus, decrease and brilliance, but about the content of the paintings ..."

Karl Brullov (1799-1852) Portrait of Princess E.P. Saltova. 1833-1835

In 1863, 14 artists refused to fulfill the subject given to them, the so-called "program", defending the freedom of creativity and the realistic mapping of modernity. This "riot" of the pupils of the Academy was a reflection of the revolutionary lift and waking up the public in the field of art. These "Protestants", as they were called, founded the "artist artists". It was then increased by the powerful movement of the "partnership of mobile art exhibitions". These were the first not government and non-cannon, but the democratic public organizations of the artists in which they were their own owners. Stasi warmly welcomed the creation first "Artel", and then the comarage of the mobile phone. "

If the Artel was the first in Russian art attempt to create an artistic association, independent of official guardianship, then the partnership made this idea.

He rightly saw in them the beginning of new art and then propaganda and defended the Movies and their art. In our collection there are some of the most interesting from the articles of Stasov, devoted to the analysis of mobile exhibitions. It is indicative of its protection of positions of advanced, realistic art and its outstanding figures, the article "Kramskaya and Russian artists". In it, Stasi is hot and rightly rebel against the addition of the meaning of a wonderful artist, the leader and ideologue of transferabity - I. N. Kramsky.

The authorship of this picture has not yet been revealed, it is known that it was sold at auction in Israel. On the picture, Rampin, Stasov, Levitan, Surikov, Queenji, Vasnetsov and other artists are depicted. On the Molbert (subframe), standing towards us "the back" side, the picture of I.Repina (1844-1930) "did not wait". There is a twin in the plot of this picture: Artist Yu.P. Tsyganov (1923-1994), he wrote this picture while still student, - "V.V. Tasov among Russian artists":

An interesting specifier for the protection of works of realistic art from reactionary and liberal criticism is the analysis of the Stasov famous picture I. Repin "did not expect". In it, Stasov refutes the distortion of her social sense.

Stasov always sought in the art of deep ideological content and vitality and from this point of view, first of all, the work was assessed. He argued: "Only that and the art, the great, right and sacred, which does not lie and does not fantasize, which is not treated with old toys, and in all eyes looks at the fact that everywhere around us is performed, and by forgetting the previous Baric division of plots for high and low, Breastfall is pressed against everything where there is poetry, thought and life "(" Our artistic business "). He even inclined sometimes was to consider craving for the expression of large, exciting ideas society by one of the characteristic national signs of Russian art. In the article "25 years of Russian art" Stasov, following Chernyshevsky, demand from art to be criticized public phenomena. He protects the trendy art, considering it as an open expression by the artist of its aesthetic and public views and ideals, as an active part of art in public life, in the education of people, in the struggle for advanced ideals.

Stasov argued: "Art, not emanating from the roots of folk life, if not always useless and insignificantly, then at least always powerless." The great merit of Stasova is that he welcomed the reflection of the people's life in the pictures of the Mobile. He encouraged it in every way in their work. He gave attentive analysis and high assessment by showing the images of the people and folk life in the paintings of the Repin "Burlaki on the Volga" and especially the "procession in the Kursk province".

I.Repin Barge Haulers on the Volga

He especially put forward such pictures in which the actual person is mass, people. He called them "choral". For the show of the people in war, he praises Vereshchagin, in appeal to the nationality of art, see the similarity in the works of Repin and Mussorgsky.

I.Repin Cross stroke in Kursk province1880—1883

Stasov here really grabbed the most important and most significant in the work of the Movies: the features of their nation. The show of the people is not only in his oppression and suffering, but also in its strength and the greatness, in the beauty and wealth of types and characters; The advantage of the interests of the people was the most important merit and life feat of the Movie artists. It was a real patriotism and mobile phone and their herald - Critica Stasov.With all the passion of his nature, with all the journalistic heat and the talent of Stasov throughout their life defended the idea of \u200b\u200bindependence and originality of the development of Russian art. At the same time, he was alien to the false idea of \u200b\u200ballegedly isolation, or exclusivity, the development of Russian art. Standing his originality and originality, Stasov understood that it generally obeys the general laws of development of new European art. Thus, in the article "25 years of Russian art", speaking about the emergence of Russian realistic art in the work of P.a Fedotov (1815-1852), it compares it with similar phenomena in Western European art, establishing both the community of development and its national originality. Idea, realism and nationality - these main features of Stasov defended and promoted in modern art.

Pavel Fedotov Major Watching.

The latitude of interests and the large versatile formation of Stasov allowed him to consider painting not isolated, but in connection with literature and music. Especially interesting comparison of painting with music. It is characteristic of the article "Perov and Mussorgsky".Stasi fought against the theories of "pure art", "art for art" in all their manifestations, whether it is far from life themes, whether "hidden" art from "coarse daily", whether the desire to "release" painting from literature, whether Finally, opposition to the artistic work of their practical utility, utility. In this regard, an interesting letter "Opening Lecture G. Prachov at the University".

And .Pepin IN. IN.Stasov at the cottage in the village of Old Filovka near Pargolov. 1889

The flourishing of the critical activity of Stasov belongs to 1870 - 1880. At this time, his best works are written, and at that time he enjoyed the greatest public recognition and influence . Stas and in the future, until the end of his life, defended the public service of art, argued that it should serve to public progress. Stasov all his life struggled with opponents of realism at different stages of the development of Russian art. But, closely associated with the movement of 1870-1880 as a critic, which established on the basis of this art and its principles, Stasov could not subsequently go further. He could not truly perceive and understand new art phenomena in the Russian art of the late XIX - early XX century. Being fundamentally right in the fight against decadent, fallen phenomena, he often unjustly counted the works of artists who were not decades. The eldest critic in the heat of controversy sometimes did not understand the complexity and controversialness of new phenomena, did not see their positive parties, all the mistakes only to the erroneousness or limitation.

But, of course, in the best works, the criticism is not all right and acceptable for us. Stasov was the son of his time, and in his views and concepts were along with very valuable and weak and limited parties. They were particularly significant in his scientific historical studies, where he sometimes retreated from his own positions of independence of the art of the people, identified the concept of nationality and nationality, etc. and its critical articles are not free from errors and one-sidedness. So, for example, in the heat of struggle with the old art of Stasov, it came to the denial of the achievements and values \u200b\u200bof Russian art of the XVIII - the beginning of the XIX century as allegedly discontentively and unnemedly. He to a certain extent shared here the delusions of those modern historians who believed that Peter I reforms broke allegedly the national tradition of the development of Russian culture. Also, in the fight against the reactionary positions, the modern Academy of Arts Stasov reached the complete and absolute negation. In both cases, we see how an outstanding critic losing pore in the heat of passionate controversy a historical approach to art phenomena. In the closest and modern art, he sometimes underestimated individual artists, such as, for example, Surikova or Levitan. Along with a deep and loyal analysis of some paintings, he misunderstood others. The correct and deep understanding of the nationality in painting is opposed to the external understanding of it in the modern architecture in modern. This was due to the weak development of the architecture of his time, her small artistic art.

Stasov V.V. (in the circle of artists)

It would be possible to indicate and other erroneous or extreme, caused by the polemical burdens and the circumstances of the struggle of the judgment of Stasov. But not these mistakes or misconceptions of a wonderful criticism, and its strengths, the loyalty of its basic provisions is important and valuable for us. He was strong and truly great as critic-Democrat, who gave artistic criticism of great social importance and weight. He was right in the main, the main and decisive: in a public understanding of art, in defending realism, in approval, that it is the realistic method, the connection of art with life, the service of this life provides flourishing, height and beauty of art. This statement of realism in art is of historical importance, the strength and dignity of Stasov. This is the incredit value of its critical work, their value and instructive for us today. The work of Stasov is important for familiarization with the historical development and achievements of Russian realistic art.

A.M. Gorky, V.V. Stasov, I.E. Repin on "Alley Pushkin" in "Penats

Personal and valuable for us in Stasov-criticism not only its great principle, clarity and hardness of its aesthetic positions, but also its passion, temperament with which he defends his beliefs. Until the end of his days (Stasi died in 1906), he remained a critone-fighter. His love for art and devotion to the fact that he believed in it is genuine and beautiful. This livelihood with art, the feeling of him as his own business, practical and necessary, correctly described M. Gorky in his memoirs about Stasov. Love for art is dictated by his statements and its denial; It always "burned the flame of the Great Love to Beautiful."

I.Repin Portrait of Vladimir Vasilyevich Stasova. 1900

In this direct experience of art, in the passionate protection of his life and importance, in approving the realistic, the necessary people who serve him and in his life draws his strength and inspiration of art, and is the most important and instructive, highly appreciated and respected by us in the works of Stasov .

1824 - 1906, Russian art historian, musical and artistic critic, ideologue "mighty bunch" (Balakirevsky Mug).

The relationship of Tchaikovsky and Stasov is an example of a often found historical situation, when the figures committed by the same case are, in this case, Russian music, people, personally, sympathetic, cannot find mutual understanding of the most fundamental, fundamental issues of art. The promoter of creativity of composers of the Balakirevsky mug, Stasov never understood the most significant in the work of Tchaikovsky. Without being actually a musical critic, Stasov did not speak with responses to the execution of individual works of Peter Ilyich, but from the printed work of a more general nature, his position is quite clarified. It can be formulated quite briefly: Stasya like only the program works of the Moscow composer, from the symphony - only the second, from the opera music - nothing.

Here are some statements of Stasov. About the fantasy "Romeo and Juliet": "Adorable and poetic to the highest degree" (articles about music, 2,258). About "Bure" (the plot was proposed by Tchaikovsky Stasov, and the fantasy is dedicated to him) - "One of its best creatures ...". The same two writings and the "Francesca da Rimini" are positively appreciated in the article "The Brakes of Russian Art" (1885).

In another review article of the same time ("Our music over the past 25 years," 1883) about Tchaikovsky says: "He was very strong, but he had the adverse effect of conservative education ... The National Element does not always succeed in Tchaikovsky, but It has his masterpiece in this way: the symphony finale to Minor to the People's Malorosiysk theme "Zhuravel" ... But why there is a Tchaikovsky's ability - this is to the writings for voice. Opera is numerous, but do not represent almost nothing wonderful. This is a series flaws, mistakes and delusions. " (3, 191-2). (This is after "Onegin"!)

Tchaikovsky's connection with the leaders of the Imperial Russian Music Society, first of all, the doctrine of Anton Rubinstein and friendship with Nikolai Rubinstein, diluted Tchaikovsky and Stasov on different sides of Barricades. On the first concert for piano with the orchestra, brilliantly played by N. Roybestein in Paris at the World Exhibition of 1878, Stasov wrote that this concert "does not belong to the number of the best works of the composer" (2, 344). In connection with the mentioned concerts of Russian music in Paris, where the creativity of the authors of the "mighty coup" was presented enough, Stasov says, uniting Tchaikovsky and A.Rubystein: "both are not independent enough, and are not strong enough and national" (2, 345).

Paris concerts caused anger of temperamental Vladimir Vasilyevich, and he expressed a number of unfair accusations against Nikolai Rubinstein. Tchaikovsky responded to a big frank letter (January 1879): "... You were not mistaken, assuming sympathy for you. I am not a fan of your articles of your music about music. I do not like the essence of your opinions, nor a sharp, passionable tone, which they are set out. But at the same time I know well that even those sides of your activities that I cannot sympathize in no way, have a nice lining, i.e. undoubted sincerity, passionate love of art ... the sadder to conscious, That between you and me is a bottomless abyss ... The fact that for me was and will be artistic revelations, you call back. where I do not find anything but ignorance, disgrace and parody of art, there you see the pearl of aesthetic beauty ... "

Undoubtedly, as in the case of discrepancies with M.A. Balakirev, with a "mighty bunch" in general, it was meant here, on the one hand, a classic heritage, primarily Mozart, and, on the other, the distant Tchaikovsky creativity, Berliosis, And also, of course, the music of Mussorgsky's music (which, moreover, was known in those years in those years).

At the end of this long letter, Tchaikovsky adds: "... Make sure if you pass from me a friendly greeting of Corsakov. This is one of the few points, on which we are going to. I love his talent, how much and its whole, honest and pretty and cute Personality. "

But, besides the Roman Corsakov, there was another common "point", or rather, the uniting principle, and the name of this phenomenon is Glinka.

L. Z. Shopelnikova

RNB employees - science and culture figures

Biographical Dictionary, vol. 1-4

(01/14/1824, Petersburg - 10/23/1906, Ibid), Muz. and art. Critic, historian of art, publicist, in PB 1872-1906.

From the nobles. Father - Architect V. P. Stasov. In 1836, he was credited to the school of law, the second graduated from 1843. The service began to POM. Secrets. In the land dep. Cenate. From 1848 served the secrets. in dep. Geroldia, and from 1850 - Pom. Legal Counsel. Justice. Freely owned six yaz. Interested in studying art, in 1851 he retired and left abroad with the Urals industrialist, the patron of A. N. Demidov in the quality of his secrets. and art consultant. Visited in England, Germany, France, Switzerland, almost all cities of Italy. He worked in the largest bubbits, bk and arch. There was a BT in the estate of Demidov in San Donato near Florence.

In 1854, S. returned to Petersburg, where it became close to young composers M. A. Balakirev, M. P. Mussorgsky, N. A. Rimsky-Korsakov, A. P. Borodin, Ts. A. Kyui, called " mighty bunch. " In the 1860 ideologue and propagandist realistic. and democre. Art of "Mobile". ENZ. Type. Start lit. Activities belongs to 1847, when in "Ethe. Zap." Placed several "parsing" foreign. kn. Published in more than 50 Rus. and foreign. Period, ed. Printed in "West, Fine Arts", "B-Ke for reading", "ZHMP", "annual. Imp. Theaters", "East. West.", "Severed. West.", "Izv." and "Zap. Archaol. O-Va", "Books" of the Week "", "Rus. West.", "Artist", "Rus. Starne", "The Tree, and New. Russia", "West. Europe", "MUZ. And theater, West." and mn. Dr. in 1869 for the work "The origin of the Russian epic" received the Uvarov Prize. In 1900, honored, Acad. An on the category of elegant literature as a representative of the art. Critics. Auto numerous Monogr. and art. about music, painting, sculpture, rus. composers and artists; work in the region Archeology, history, philology, folklorestics, ethnography. Of great importance was the album of the pictures "Slavic and Oriental Ornament", over the K-Rym worked for almost 30 years, widely using materials not only edema., But the bomb. B-K and museums. On ed. The album received from the state. Treasury 12 thousand rubles. For this tr. Got the rank t. He took an active part in the ed. on the funds of A. V. Zvenigorodsky to Rus., Fr., Him. Yaz. kn. "History and monuments of Byzantine enamel" (St. Petersburg, 1894). In lit. Heritage C. Definition The place is occupied by the book. and Art., Communication. With his bibl. Activity.

S. Visited B-ku for the first time in 1845, going to explore the engraving stored here. OK. 1850 helped Sot. Bd Oriental F. N. Popov in the description of the KN. In 1855, he began to systematically visit the B-ku, especially the separation of elegant arts, then he was headed by V. I. Solzikov. In con. 1855 adopted the proposal of the COLYSICKY to compile the syst. The catalog of the separation "Rossika", which completed in 1857. Offer. They system syst. The catalog was approved by An. He took part in the acquisition of the separation of elegant arts, disassembled the estamps, arranged the exhibition.

In con. 1856 Dir. B-Ki M. A. Korf offered S. Place of his Pom. on the commission For collecting materials on the history of life and the reign of Nicholas I. in the Commission. wrote a number of East. Tr.: "Young Years of Nicholas I before marriage", "Review of the history of censorship in the reign of imp. Nicholas I", "History of Emperor Ivan Antonovich and his family", "" History of attempts to introduce a Gregorian calendar in Russia and in some Slavic countries "And others. All these studies. They were written specifically for Alexander II and entered his personal b-ku. In July 1863, it was determined in the II branch of his own. e. and. in. Kanz. "With leaving at occupation" in Sost. The history of life and reign Nikolai I. served there on 1882. In the beginning. 1860 was ed. "Izv." Archaeol. Departments of the RGO.

In 1856-72 continued to work "properly" in the PB, having in the art. branch your desk. Together with the Solshchikov, made an exhibition of the production. Rus. engraving school. On his initiative, the exhibitions are organized. Manuscripts with miniatures, ancient Russian. Hook handwrites from the XI century. From 1856 was the "reports" of PB (1856-61, 1872-73). I spent great work according to the premium. Report "Decade of the Imperial Public Library (1849-1859)". In 1857, put forward the idea of \u200b\u200bcreating a gravir collection. Portrait. Peter I and brilliantly implemented it. The collection included more than 200 portraits, images of different scenes and events from the life of Peter I, numerous. Lumping pictures, caricatures, image of his homes and monuments. To start. 1862 A collection catalog was prepared, ed. Only in 1903. In 1864, he took an active part in the controversy that broke out on the pages of St. Petersburg. gas. On the translating B-ki in the building of the engineering castle, opposed this project. 27 Nov. 1872, after the death of Solzikov, S. accepted on the staff, the position of B-Rya, headed the department of arts and technology, where he worked for 34 years - until the last days of his life. Led all the work on the department: recruitment, processing of funds, classes with visitors. Carefully followed the bibliogr. Decree, book-moving catalogs, was lists of missing ed. According to his initiative, the columns purchased. Photo I. F. Bushchevsky, eating, monuments Rus. Starns. Collected photoogr. Concerning Russia. Portrait paid great attention. Cons., Rus. and east. Loading pictures. In order to replenish the funds, it achieved the receipt of the implications of the valuable engravings disappeared from the appeal from the old boards stored in Acad. Art and in the gene. headquarters. Almost every year gave b-ke manuscripts, photo, kN. (1500 units). During his work, the Funds are art. The branches increased by one third, and it became one of the richest in the world. In 1874 disassembled many. Collection of small music. Production, dividing them into two ch. Groups: Pieces for tools and plays for voices with a tool, accompaniment. Led all catalogs: inventory, ALP. and syst. Compiled an extensive "note on changing some rules regarding the maintenance of a systematic catalog", insisting on the uniform form of cards for the catalogs of all offices and to simplify bibliogr. Descriptions ed. In the syst The catalog made a lot of most valuable annot. On cards. Exhibitions and excursions assigned to enlighten the role. When servicing visitors gave highly skilled. Consultations, tips, chose lit. Great help help, selection of lit. Predit M. O. Mikeshin, M. M. Antokolsky, V. M. Vasnetsov, I. E. Repin, M. P. Mussorgsky, N. A. Roman-Korsakov, A. P. Borodina, L. N. Tolstoy, M. A. Balakirev, D. A. Rovinsky, N. P. Sobyko and MN. Dr. In B-Ke handed composers annually. Prize them. M. I. Glinka. With his assistance in the PB, manuscripts and arch. composers, artists, sculptors (M. I. Glinka, A. S. Dargomyzhsky, M. P. Mussorgsky, A. P. Borodina, M. A. Balakirev, A. G. Rubinstein, P. I. Tchaikovsky, C. A. Kyui, A. K. Lyadov, A. K. Glazunova, M. M. Antonticoline, K. P. Bryullova, I. K. Aivazovsky, I. E. Repin, etc.). In 1876, he put forward the idea of \u200b\u200bcreating instead of one reading room of two: for "scientific and serious classes" and for "students of young people and reading public." The project at that time was not implemented. Participated and in the acquisition of other departments of B-ki, sought to provide orders for the nodesty KN in a timely manner. on history, ethnography, archeology, geography, linguistics, production. Art. Lit. There was against the exhaustive acquisition ("pastoral speeches", "treatises about jurisdiction" and the like). Collected materials on the Decembrist movement, according to the stud. and roar. Movement 1880-1900, made. "Wolne Russian press", on the history of the first Rus. Revolution. Through him did MN. NEG. ed., Including Bolshevik gas. Contributed to the acquisition of the collection of ed. Paris Commune. Ratched for the expansion of the room with a new extension. In 1897, presented in Building, Comm., ChL. Foy, he was, a grand project of a new building, who became architect I. P. Rope. The project was widely used the motifs ancient Russian. architecture and ornaments. The project was rejected due to the discrepancy of Classic. Style of an old building. In 1905 C. amounted to illustras. Guide to B-KE (ne-uncle.). July 15, 1886 Artists, musicians, scientists, writers presented S. Address with gratitude for the 40-year ministry Rus. Art. They also achieved the establishment in BST Bust S. Works M. M. Antocolsky and collected a large amount of money for ed. His op. In 1882 S. offered the post Vice-Deer., In 1899 - Dir. But he refused, although during his service he repeatedly had to replace the vice-dir. and dir. From January 1 1884 S. appointed annual. Handbook of 3 thousand rubles "For the work on collecting materials for the history of the reign of Emperor Nicholas I, from 1 Jan. 1900 appointed rent at 1500 r. per year for 6 years. From awarding the orders refused. 27 Nov. 1902 S. received a diploma to the rank of honor, ChL. PB in connection with the 30th anniversary of the activities in the position of B-ka.

He was buried at Tikhvinsky Klasen. Alexander Nevsky Lavra in St. Petersburg.

On the facade of the PB building, a Memorial Plank S.

Op.: Cathedral cit. T. 1-4 (SPB., 1894-1906); Letters to relatives. T. 1-3 (M., 1953-62); IMP reports. Public Library for 1856-61, 1872, 1873 (St. Petersburg, 1857-62, 1873, 1874); New acquisitions imp. Public Library for Fine Arts Department // SPBED. 1859. June 25; ZHMNP. 1859. Part 103, July - Saint., Dep. 7; Decade IMP. Public Library (1849-1859): note, prest. sovereign. imp, ... (SPB., 1859); Remarks on miniatures of Ostromirov Gospel (St. Petersburg, 1863); Slavic and oriental ornament for the manuscripts of ancient and new time: [album and will explain the text to the table.] (SPB., 1887); History of the book "Byzantine enamel" A. V. Zvenigorodsky (St. Petersburg, 1898); Miniatures of some manuscripts of Byzantine, Bulgarian, Jagatai and Persian (St. Petersburg, 1902); Gallery of Peter the Great in Imp. Public Library / Preported. V. V. Stasova. Part 1. Annot. Catalog (SPb., 1903); Mark Matveevich Antokolsky, his life, creation and articles, 1853-1883 / Ed. V. V. Stasova (St. Petersburg., 1905); Tolstoy L. N., Stasov V. V. Correspondence, 1878-1906. (L., 1929); Repin I. E., Stasov V.V. Correspondence. T. 1-3 (m.; L., 1948-50).

Bibliography: Vladimir Vasilyevich Stasov: Materials for biography. Description of manuscripts / Sost. E. N. Wiener and others. M., 1956; Show S. N. V. Stasov, 1824-1906: Annot. decree. Lit. For 1950-1973. L., 1974.

Rer.: BSE; Brockauz; Bibliology; Meets. History; Riman; Slavyanology.

LIT: Solzikov V.I. Memories of the Old Librarian // IV. 1889. T. 38, №11; Anniversary of Vladimir Vasilyevich Stasova 2nd Jan. 1894. SPb., 1894; Timofeev G. N. Vladimir Vasilyevich Stasov: Sketch of his life and activities // Be. 1908. № 2-5; Unforgettable Vladimir Vasilyevich Stasov: Sat. . St. Petersburg, 1910; Mosk. Archaeol. o-in; Boatyanovsky V. F. Memory V. V. Stasova // Life of Art. 1923. № 23; Carpenin Vl. Vladimir Stasov: Sketch of his life and activity. L., 1927; Reet B. Books and People: Essays from the history of state. Public B-Ki. M, E. Saltykov-Shchedrin, 1814-1939. L., 1939: Lebedev A. K. Vladimir Vasilyevich Stasov, 1824-1906. M.; L., 1944; Vladimir Vasilyevich Stasov 1824-1906: By the 125th anniversary of his birth: Sat. Art. and M.; L., 1949; Babinets S. M. V. V. Stasov - Librarian of the Public Library // Librarian. 1950. №11; Mebil B. I., Messenishine I. A. Library activity V. V. Stasov // owls. Bibliogr. 1U52. Vol. 2; Stefanovich V. N. Library activity V. V. Stasova. Author. dis. ... Cand. Ped. science M., 1954; Her. V. V. Stasov (1824-1906): Essay. Bible. Activities. M., 1956; Suvorova E. I. V. Stasov and Russian advanced public thought. M., 1956; Goldenblum A. M. Vladimir Vasilyevich Stasov. Omsk, 1957; Chistyakova A. V. Work of V. V. Stasov with readers of the department of arts of the Public Library // Tr. / GPB. 1957. T. 3; At least (1); Doctor O. B. On the work of V. V. Stasova on the preparation for the press of materials on the history of Russian architecture // Book: Issl. and materials. M., 1962. Vol. 6; Markevich A. P. Stasov is a citizen, critic, Democrat. Kiev, 1969; Salita E. G., Suvorova E. I. Stasov in St. Petersburg. L., 1971; Lebedev A. K., Solodovnikov A. V. V. Stasov: Life and creativity. L., 1982; Barhahatova E. V. V. Stasov // owls. library science. 1984. No. 6; Stuart M. Vladimir Stasov And The Professionalization of Librarianship in Russia // Solanus. 1993. Vol. 7.

100th anniversary. P. 214, 256, 275, 286, 306-07, 311, 316, 331-33, 352, 390-92, 405, 432, 445.

Necr.: Speech. 1906. 11 Oct.; Petersburg. gas. 12, 14 Oct.; Shine. 12 Oct.; Spbede. 12 Oct.; Comrade. 12, 22 Oct.; Taganrog, West. 15 Oct.; Yves. T. 106, Nov.; Visant. Temperature. T. 13, vol. 2; ZHMNP. N. S. 1907. Ch. 7, Jan.; Izv. An. Ser. 6, No. 10; Report on the activities of Oyshin An. St. Petersburg, 1906; Kondakov N. P. Vladimir Vasilyevich Stasov: necr., 1824-1906. St. Petersburg, 1907; Engel Yu. D. Memory V. V. Stasov // Rus. MUZ. gas. 1907. №41-42.

Arch: Arch. RNB. F. 1, OP. 1, 1872, No. 78; OR RNB. F. 362; Tsagali. F. 238; F. 888; OR Irley. F. 294.

Iconogr: PC. 1895. T. 83, Feb.; Niva. 1904. No. 1; 1907. № 43; Grabar I. Repin. M., 1964. T. 2.

O. D. Golubva

Russian bibliographer, historian of art, musical and art critic, archaeologist.

He served in the Senate, in the Ministry of Justice. In 1851, he retired from civil service.

Since 1856. V.V. Stasov He worked in the Public Library in St. Petersburg (now the Russian National Library. M.E. Saltykov-Shchedrin), where from 1872 until the end of his life was headed by its art department.

« Vladimir Vasilyevich Stasov Great services provided to Russian art in all areas of him, a special area of \u200b\u200bmusic. The rule of his life was "to be useful others, if he himself was not born by the Creator."
And in fact, possessing huge knowledge and serving in the Public Library, he provided invaluable services to many artists and all Russian culture.
Counting Glitugenius he wrote about him 48 Articles, explaining the greatness of his work. Drinking by the Russian National Music Style, he called "Mighty bunch" Group of composers - Balakirev, Mussorgsky, Cui, Roman Corsakov, Borodin - and provided them with great services. He gave the Mussorgsky story "Hovhanchy" and "Boris Godunova", Borodin - Plot "Prince Igor".
At the same time, he pointed out the composer historical sources necessary for acquaintance with the corresponding era. So he also participated in the work Roman Corsakov Over "Sadko" and "Pskovtyanka". His performance and the love of work were extreme.
Even on Sundays, he came to a public library in his office and worked there. From the orders and ranks he refused. When Minister Bogolepov offered him the post of director of the Public Library, he not Accepted this position for the sake of conservation of freedom.
He treated freedom as a principle And therefore defended Poles and Jews, appreciate the national peculiarity of each people. Lev Tolstoy He called the Lion Great and wrote these words not otherwise, as big letters, but he appreciated only the artist and reproached Tolstoy for the fact that he did not overcome two barriers - "Deity" and "Christianity". He was outraged by the building of the world and "blasphemy cursed the world order", everywhere finding death. For forty years, he was preparing the work that he wanted to give the title "defeat" or "Carnage Generab" or "Massacre Generab". In it, he was going to show himself an anarchist and pessimist "on the sample, in all parts, and not at all of the political." In all mankind, he thought, there are only a few dozen or hundreds of decent people, and the rest deserve a passionate pit.
It was outraged by the fact that liberal editors of magazines and newspapers behave in the same way as government censors. In his book, he was going to produce also defeat many generally accepted geniuses: Raphael He did not consider the great artist, spoke of Liezhevichia Michelangelo.
In his relationship to people, in the defense of their opinions of Stasov showed extreme passion.
He loved the dispute - fierce, but, fond of the creature of the case, he forgot his personal insults. Nicknames, data to him, express his passionate character.
He was called: "Furahny Stasov", "Truba Yerikhonskaya", "critic loudspeat". "

Lossky N.O., the search for absolute good, characteristic of the Russian people, leads to the recognition of the high value of any personality (passages from the book "The character of the Russian people"), in Sat.: Russian individualism. Collection of works of Russian philosophers of the XIX-XX centuries, M., Algorithm, 2007, p. 44-46.

"A wonderful person was Vladimir Vasilyevich Stasov. He knew how to unmistakably determine the most characteristic of all his numerous friends - composers and artists.
Possessing huge knowledge of literature, art, history, heading for several decades the handwritten department of the St. Petersburg Public Library (now the State Public Library named after M.E. Saltykov-Shchedrin), he not only suggested his friends interesting topics and the plots of new works, but helped by species, tips, selection of documentary material, etc.
He lived with the needs and interests of his talented friends, widely promoted all their bold undertakings in his critical articles. The ideas of the great Russian revolutionaries-Democrats, the ideas of the great Russian revolutionaries, did not recognize the art torn off from life. "For me, reality in art is all," he said. "

Ratska TsS., N.A. Rimsky-Korsakov, M., "Music", 1977, p. 82-83.

Music and artistic critic, historian of art, ethnographer and publicist V.V. Stasov born 2 (14) January 1824 in St. Petersburg in the noble family. His father is the famous St. Petersburg architect Vasily Petrovich Stasov (1769-1848) - he had a strong influence on the development of the aspirations and the inclinations of the Son. But from this family not only an outstanding critic. Sister V.V. Stasova Nadezhda Vasilyevna Stasova (1822-1895) is a famous public activity, one of the founders of the highest female education in Russia. Brother - famous lawyer Dmitry Vasilyevich Stasov (1828-1918). Granddaughter V.P. Stasova Elena Dmitrievna Stasova (1873-1966) became one of the prominent figures of the Communist Party. Famous architects, artists, musicians, science figures often visited the family. Among them can be noted the famous and A.P. Bryullov.

In 1836, the twelve-year-old Vladimir was given by the Father in the newly created school of law. Then 13-14-year-old teenburgk V.V. Stasov met works by V.Guhugu, A.Dyum, V.Skhotta, Shakespeare, Hoffman, Georges Schiller, as well as Belinsky, Turgenev, Gogol. The appearance of the "dead souls" in the summer of 1842 was for Stasova and his comrades "the event of extraordinary importance". "In continuation of several days," Stasy recalls, "we read and re-read it a great, unheard of original, incomparable, national and brilliant creation. We were all exactly intoxicane from delight and amazement." Even in the school of Stasov, he was carried away with music and decided for the first time to try his strength on the writing field. In 1842, he wrote an article about F.List, who came to St. Petersburg, although he did not printed it anywhere.

In 1843 V.V. Stasov graduated from the school, began service by the Secretary Assistant Secretary in the Meatia Department. Since 1848, he served as secretary in the Geroldia Department, and since 1850, an assistant to the legal officers in the Department of Justice. Freely owned six languages. But he was not interested in neither jurisprudence or career. Departing his office hours, he hurried to Hermitage or the Academy of Arts.

The beginning of his writer's biography V.V. Stasov considered 1847, when his first articles appeared in the "domestic notes". In the same year, Stasov was invited to the publisher of "domestic notes" Kraevsky among the staff of the journal on the department of foreign literature. In addition to working in the department of Stasov, he received the right to write small reviews on painting, sculptures, architecture and music. For two years of work in "domestic notes" - 1847 and 1848 - he published about 20 articles. In 1848, however, for contact with the circle of Petrashevtsev, Stasov was removed from work in the journal. He was even arrested and concluded in the Petropavlovsk fortress.

In 1851 V.V. Stasov resigned and as secretary of the Ural Industrialist and Petsenate A.N. Demidov, a very rich man, fan of arts, went abroad. He sought a trip to the border first of all to replenish his artistic education to the study of treasures of European art. Stasov visited England, Germany, France, Switzerland, in many cities of Italy. He worked in the largest libraries and archives. There was a librarian in the estate in San Donato near Florence, often visited Russian artists and architects living in Italy - Alexander Bryullov, Sergei Ivanov, Vorobyov and Aivazovsky.

In May 1854, in connection with the Crimean War, V.V. Stasov returned to Petersburg, where he got close to young composers, M.P. Mussorgsky, N.A. Roman Corsakov ,. With the active participation of Stasov, an artistic association of composers was imposed, which became known as the "mighty hand", invented by Stasov. In the 1860s, Stasov also supported the famous "mobile exhibition partnership", with which all his activities are closely connected. Stasov was one of the main inspirers and the historian of "Mobile", took an active part in the preparation of the first and number of subsequent exhibitions.

At the end of 1856, director of the Public Library in St. Petersburg M.A. Corf offered Stasov's place of his assistant to collect materials on the history of life and reign. In 1856-1872 V.V. Stasov worked free in the Public Library, having its desk in the art department. On his initiative, a number of exhibitions of Old Russian manuscripts are organized. In November 1872, he was adopted at the staffing post of the librarian, until the end of his life he was headed by its art department. In this post, he constantly advised writers, artists, composers, collected the manuscripts of Russian artists, especially composers (largely due to the Stasov, the Russian National Library has now the most complete archives of composers of the St. Petersburg school).

V.V. Stasov was published in more than 50 Russian and foreign periodicals. In 1869, for the work "The origin of the Russian epics" received the Uvorov Prize. In 1900, the Honorary Academician of the Academy of Sciences on the category of graceful literature as a representative of artistic criticism was elected. Stasov is the author of numerous monograms and articles on music, painting, sculpture, Russian composers and artists; works in the field of archeology, history, philology, folklores, ethnography.

In 1882, Stasov offered the post of Vice-Director, and in 1899, the Director of the Library. But he refused, although during his service he repeatedly had to replace the vice director and director. He refused and from rewarding orders. On November 27, 1902, Stasov received a diploma of an honorary member of the Public Library in connection with the 30th anniversary of the work as a librarian. For fifty years (from 1856 to 1906), which served V.V. Stasov in the St. Petersburg Public Library, he did a lot to open free access to the library, persistently sought the cancellation of paid use by her book wealth.

82-year-old V.V. Stasov died in St. Petersburg 10 (23) October 1906. He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra (necropolis of art masters). In 1908, a monumental tombstone was built on his grave (at the end of the south track), which is a monument of federal significance. On the tombstone the inscription - "commemoire of Russian art."

Interesting the story of this tombstone. Back in 1889, one of the pupils V.V. Stasova young then sculptor I.Ya. Ginzburg presented him with a small statuette, where he portrayed him in Russian folk costume. This work was so much like Stasov that he wrote her daughter: "If I had some major historical person, I would never wish myself no other monument, except for this ..." When Stasova was decided to establish a monument on his grave after the death of Stasov, The funds for which was going on the subscription, the statuette of Ginzburg was taken as the basis. Against the background of the monolithic rock, Stasova statue is installed. According to the drawings of the architect I.P. Ropet made artistic cast-iron fence with medallions from smalts, in which the letters "F", "s", "M", "B", mean painting, architecture, music and scratching. At the wicket fence - spur and incendiary glass, reminding the Talent of Stasov to direct and light.

Not far from the grave of Stasov, his relatives were buried: Father, Architect V.P. Stasov (1769-1848); Brother Dmitry (1828-1918), lawyer, public figure; Sisters Hope (1822-1893) and Sofia (1829-1858).