Ilya Repin. Barge Haulers on the Volga. 1870-1873 State Russian Museum.

"Mastery is that not see the skill" Lion Tolstoy (about Ilya Repin).

Repin (1844-1930) wrote "Burlakov" when he was not yet 30. He has a long and fruitful life in front. Masterpieces "Ivan the Terrible and his son Ivan", "did not wait" or "the Cossacks write a letter to Turkish Sultan."

But "burlaci" will always be his first and main masterpiece. Remembering Repin, we remember exactly this picture. The top of his work was achieved at the very beginning of the road.

The picture was always popular. And in the life of the artist. And even more so in Soviet times. She was everywhere. In textbooks, calendars, postage stamps and postcards.

When the picture is too popular, the illusion of a close acquaintance with it appears. Therefore, few people have a desire to learn something more about it.

But since you are reading this article, then you have overcome this barrier. Therefore, I will be happy to look at the picture with you closer.

Whether burly in painting to Repin

In European painting, Repin was not the first to addressed the topic of Burlakov.

Created not one picture on this topic. But if you take this picture of 1870, then it is more likely about the landscape, rather than Burlakov.

Alexey Savrasov. Burlaki. 1870. Private collection. TheartNewspaper.ru.

We are more likely to admire the foregoes. And the burlates here are only the item, but not the main one. From Repinskaya this picture is very different.

In Europe, also used the work of burlakov. And there were also a lot of work on this topic. Here, for example, Italian burles. Also created earlier than the repincial.

Telemaco Signorini. Burlaki. 1864 Private collection. Nyest.hu.

Signorini burlaca is depicted next to a well-dressed master and girl. Apparently for contrast. But compared to the repincial, they do not look with oven. Although they probably were not richer than ours.

Imagine what was if Repin placed this gentleman with a girl and a dog on her beach next to the burlaca! It would be a shaped lunge toward the soulless empire. Which can do nothing with the monstrous gap between the poor and rich.

In reality, Repein so conceived his picture from the very beginning. After all, it is such a contrast to him and struck in 1868. Then he first saw Burlakov for the first time. Dirty, torn and gloomy, they dragged the dark spot along the beach. Pretty and laughing crowd of dacnis walked along the same beach.

But from such a frank provocation Repin, Fedor Vasiliev was dissociated from such a friend (you probably know it on the masterpiece "Wet meadow").

"Burlaki" were not the first burles and the most Repin

In 1870, after two years of work, Repin creates its "burlakov". Sends them to the exhibition. Gets medal. And ... decides to rewrite the picture.

It works for another 3 years. Even asking the leadership of the Academy of Arts to reduce his retirement trip to Europe from 6 years to 3 years to redo "Burlakov".

So, what "burlaci" were initially, we will not see. On top of them depicted the second version of the picture.

There is a preserved option. "Burlaki, going by Vyod." This picture is now in the Tretyakov Gallery.

Ilya Repin. Burlaki, going by Vyod. 1872. Artchive.ru.

And there was also a variant of "Burlacks, going through Burle." But Repin destroyed him. Ivan Shishkin rejected him, indicating Repin on the wrong depicted trees.

And sketches and drawings for 5 years of operation, Repin created an uncountable amount.

Ilya Repin. Sketch for the painting "Burlaki on the Volga". 1870. State Russian Museum, St. Petersburg. IstPravda.ru.

The topicality of "burlakov"

So, the repin refused to refuse the repinnee. And ruddy dachants near the burlaca did not write.

But Repinos did not help. He created himself a reputation as an artist who writes about the grave work of oppressed. And the audience was waiting for such work from him to continue.

But Repin in every possible way from the role of "artist oppressed" was rejected. Subsequently, she tried not to return to such topics.

He even straight recognized that she was talking to the burlars, he listened to the half-ear to their complaints of grave fate. He was interested only in their faces and postures.

But what to do, Repin himself is to blame. Posted by far the steamer as the personification of progress. It is definitely read this: there is that to use in the quality of the tug, but people are still tormented.

Yes, and the burlates themselves are too shabby. They are not clothes, but rags color sweat and dirt. Recall what pure and neat burles in Italy.

To top off, Repin showed its burlacov against the background of an idyllistic landscape. Late spring, bright sky, beige sand, cloudless sky. On this background, the circumferentialness of these poor people looks even more causing.

In fact, the Repin did not exaggerate here. In Burlaki often walked tramps and homeless people. Sometimes the peasants after the lack of town years, that is, experiencing severe need. After all, the work was although heavily, but helped to live in the offseason (summer and winter), not thinking about hunger.

In Soviet times, the painting "Burlaki" also began to perceive, as a symbol of the oppression of the people "damned" bourgeoisie. That is why the Soviet government so wanted that Repin returned from emigration. Considering him by the harbinger of "correct" painting, that is, socialism.

Who posted Repin for "Burlakov"

The depicted burlates are real people. All their Repin personally knew, invited to conversations.

The artist crushed that many came to pose, washing and kneading. That did not fit the artist's idea.

But Kanin came (the most forefront). A man of 45 years old. He did not specifically prepare for meeting with the artist. I did not go to the bath, the shirt festive did not put on. Repin immediately realized that he would be among his Burlakov.

Canin once sang in church choir. It was absorbed, that is, deprived of church san. And for 10 years already "pulls the strap." The artel burlakov "built a career". Thanks to his mind and perseverance, he became the leader of the silence, "sishka". He knows the best shore line. It asks the pace of the whole group.

He resembled the Repin of the Greek philosopher who fell into slavery to the Romans. The person of the non-good mind performs the most difficult and primitive work, albeit as an older.

On the right hand from Kanin - Nizhny Novgorod fighter. In winter, he earns participation in fist battles. And in the spring-autumn "pulls the strap." He is not more than 40 years old, the forces of physical are still enough. It is put in the first harness as one of the strongest and conscientious.

On the left hand from the canine - Sailor Ilka. He knows how to work hard and stubbornly, therefore, too, in the first row. But it can be seen that man is sullen. He one permeates us to a unkind look. Such easily climbs and send far away.

Behind the first triple - a man with a tube. He is delayed to all. His shirt is not rags, like his comrades. On it is a real hat, and not tied rag.

Most likely, he is from the peasants. Which is a wife or mother at home. Which is watching his clothes. He is clearly lazy: it goes straight, without pulling the strap. Yes, the tube has time to smoke.

He is going on a man about 60 years old. He was gone, desperately wipes sweat from his forehead. Most likely, he is sick with a stupid, and this is his last border season.

Ilya Repin. Detail of "Burlakov on the Volga". 1873 State Russian Museum, St. Petersburg

A young rustic parenchy stall is especially rushed into our eyes. Apparently the family sent him to earn money. Maybe he could not get along with his father, left home. Trying to feed yourself yourself. Obviously he almost pulls the strap. Which cannot adversely affect.

Behind him, on the contrary, a very experienced burlack. A strong old man, without weakening the strength, still manages the plenty to score.

Between them - Burlake, whom can be worse than others. It can be seen that it is Kalmyk.

Ilya Repin. Fragment of the painting "Burlaki on the Volga". 1873, St. Petersburg

Behind the old man with a plenty of retired soldier Zotov. On it - everything that remains from uniforms: the card and the jacket, the truth is already without sleeves.

Behind him, a man, clothes and a characteristic nose similar to the Greek.

The latter comes a person with the most depressing species. It seems that he will now fall without strength. His hands are limpless. The head so low fell on the chest that the faces are not visible. He most likely causes the strongest pity in you.

The latter in the "sled" put experienced, but weak or patients. They went a little mansion, in their rhythm and looked at feet. Since their function was to ensure that Bchcheva did not hurt behind the stones. So his poorer pose and the rest of the rest does not mean that he is bad.

Summarize

"Burlaki on the Volga" - the cult picture of Repin. But not everyone knows why. This is a stipulated masterpiece: 5 years of preparation, hundreds of sketches and drawings, close communication with burlaca, alteration of paintings.

In contact with

1. The shoreline is a wretched coastal strip on which burlaca went. Emperor Paul forbade here to build fences and buildings, but it limited to that. Neither the bushes, nor stones, nor the bore places from the path of Burlakov eliminated, so that the rope written the place can be considered the perfect area of \u200b\u200bthe road.
2. Bryster - Brigadier Burlakov. They became a clever, strong and experienced man who knew a lot of songs. In the artel, which Repein captured, was a shishki pop-balance Kanin (outlines were preserved, where the artist pointed out the names of some characters). The brigadier got worried, that is, fastened his strap, and asked the rhythm of movement. Each pitch of Burlaci was done synchronously with the right leg, then pulling up the left. From this, the entire artel on the move was swaying. If someone came down from the step, people came across shoulders, and the bump gave the team "hay - straw", renewing movement in the leg. To maintain a rhythm on narrow paths over the cliffs, a great skill was required from the brigadier.
3. Ladder - the nearest assistants of the bumps, which are challenged to the right and to the left of it. On the left hand, Ilka-sailor goes from Kanin - an architectural older who purchased a provision and giving out their salary to the burles. In the time of Repin, it was a small - 30 kopecks per day. So much, for example, it was worth crossing all Moscow on the cab by driving with the sign in Lefortovo. Behind the backs of the lamps are needed in need of special control.
4. "Babel", as a person with a tube, at the beginning of the road managed to flush the salary for the entire flight. Being in debt to artel, they worked for Harci and did not try much.
5. Cook and Sokolnaya Streth (that is, he was responsible for the purity of Galuuna on the ship) was the youngest of Burlakov - a rustic guy of a stall who had a real grandfather on himself. Considering your duties more than sufficient, the stall is sometimes scandaling and defiantly refused to pull the strap.
6. In each artel, they came across and simply negligent, like this man with a plenty. At case they were not averse to shifting some of the osses on the shoulders of others.
7. Rear went to the most grated Rosovsty Burlaki, who doried the halitchikov.
8. Kosnaya or oblique - so called Burlak, closed movement. He watched Bekchva not cling to stones and bushes on the shore. The oblique usually looked at his feet and had a mansion to be able to go in his own rhythm. In Kosya chose experienced, but patients or weak.
9. Expanding - View of Barka. On these, the Volga Elton Salt, Caspian Fish and Seal Fat, Ural Iron and Persian Goods (Cotton, Silk, Rice, Dried Fruits). Artel was gained by weight of the loaded vessel at the rate of about 250 pounds per person. The load that pulls up the river 11 of the burlacs, weighs at least 40 tons.
10. The flag - to the order of the bands on the state flag was not very carefully and often raised flags and pennants upside down, as here.
11. Lotsman - man on the steering wheel, actually the captain of the ship. He earns more than the entire artel, together taken, gives instructions to Burlacs and produces maneuvers both steering and blocks regulating the length of the beans. Now the extension makes the turn by chalk.
12. BECHEVA - a cable, to which burlaci is needed. So far, Barca led along the opera, that is, at the very coast, Bchcheva was etched by meters on 30. But the Lotsman loosened it, the extension departs from the shore. A minute later, Bacheva stretches like a string and burlacs will have to first keep the inertia of the vessel, and then pull out of all his might. At this moment, the bump will drag out the spill: "Here they went, yes, / right-left out. / Oh, once again, / more times, once again ... ", etc., until the artel enters the rhythm and will not move forward.
13. Watering is a carpenter who caresses and repair the vessel, monitors the safety of the goods, is carried out for it material liability during loading and unloading. Under the Agreement, it has no right to leave the scope during the flight and replaces the host, leading on his behalf.
14. The sail rose to the backward wind, then the ship walked much easier and rather. Now the sail is removed, and the wind is counter, so the burlacs are harder to go and they can't do a wide step.
15. Thread on the extension. From the XVI century, Volzhsky barks were made to decorate intricate carvings. It was believed that she helps the ship to rise against the flow. The best specialists in the country in the country were engaged in the extensions. When, in the 1870s, the steamboats crowded the wooden barks from the river, the masters disperse in search of earnings, and the thirty-year-old era of magnificent carved platforms came in the wooden architecture of Central Russia. Later, a thread that requires high qualifications, gave way to a more primitive drinking on a stencil.

Artist: Ilya Efimovich Repin


Canvas, oil.
Size: 131.5 × 281 cm

Description of the painting "Burlaki on the Volga" I.Repina

Artist: Ilya Efimovich Repin
Title Picture: "Burlaki on the Volga"
Picture written: 1872-1873
Canvas, oil.
Size: 131.5 × 281 cm

For each of the works I. Repin, a kind of story is characterized, because he wrote them for several years. The exposition was carefully thought out, the plot, the situation was made a lot of sketches. The artist drew watercolor etudes, which embodied the initial idea, but completely different plots appeared in the paintings.

Not exception was the canvas "Burlaki on the Volga", which Repin created on the threshold of his thirty years, which subsequently became a business card of the master. The idea arose quite by chance, like all ingenious things.

Ust-Izhora Repin was in 1868. He came there for sketching etudes to his academic plots. On the shore of the reservoir walked ladies in lush outfits and the francated gentlemen, but on the water itself, the blackened Vataga Burlakov in the heodled rags dragged the barge. Their apartled, tired, sullen faces and sparkling from anger and hopelessness of the eyes struck the artist so much that he could not think about anything else.

Burlaki became his margin. He painted the sketches of these people climbing, painted separately Bartz, painted many variations of the plot, until finally came to a single picture concept. After that, he communicated with many burles, watched them, remembering the gait and features. The first impulse was the boring of people's exploitation, but then he found what would make many - the unbearable man's work and the game in contrasts.

Take a closer to the nature of the Volga - amber sand, whose grapes sparkle in the sun, the purest blue sky with almost imperceptible clouds, crystal blue transparent water. This beauty is fading in the face of eleven gray-brown, even earthen men who pull a huge white barge with people. Their clothing has long ceased to be such - these are rags, throughout the impregnates later, who rotted the lapties and portites. Their faces are no longer a face - it is only eyes and arted lips that reflect heavy and low-paid labor. Their legs are knocked out in the water and the sand from the unbearable gravity of the barge, and the Volga will still reach a thousand kilometers.

They say that burlaci sang, but the heroes of Repin are silent, they cannot pronounce a word, but they can only "pull the strap." In all textbooks on the art and books of Soviet times, it is written that "Burlaki on the Volga" is a moan of the Russian people. In fact, this is silence from fatigue when people cannot speak. Each of them is a person with her destiny, which is talking about the story as the artist himself and the picture. Each burlack is individual, he has its own character, the inner world, psychology and attitude to life.

The first to go, those whom they called "Koreanniki", that is, not the first year with the burning barges, they have gained experience and know all the brods of the river. The first is a canin, the priest, next to him - overgrown Burlak, with a beard hiding face. Ilka's head, walking behind the pop, tied by a cloth, and in his eyes it is not fatigue, but a wild distracted anger. The angry burlac with the cradle in the teeth seems to understand that nothing but barge will not be in his life. A rustic parenchy in red shirt is a stall, the only one who is surprised to consider the surroundings.

The brightest of all images of eleven men is a canin. Repin, calling him the "vertex of Buretskoy epic", for a long time I accumulated the material for the image, handling someone to keep a strap from someone, and someone has a facial expression. It has a mind, and alive and ancient, there is wisdom and power. Repin, which rarely happens to the artist, experienced delight from this image. Kanin is an informal head of Artel, who has seen a lot in his century.

A young stall reflects the spiritual essence of the ass. This is the youth itself, which is distinguished by the toastness, inconsistency and the desire to live. If you compare it with the canin, then the rustic guy is the antipode of Burlaka, his curve mirror. The artist contrasted the youth of everyday wisdom, childish purity - endurance, and fragility - strength and masculinity.

The meaningful load of each image from Vatage Burlakov is individual. They are conquered by their fate, in others there are obvious features of protest and malice, and the third - calm and innocent. The figure of Kanin, however, the brightest, because the whole alloy personifies the features of each of them. At first glance, this chunky man is the same as everyone else, but if you look at him, it seems that he knows everything about what the rest is dreaming - the best life.

Compositely lengthened in width - this technique allows Repinos to arrange the figures of workers along the coast, pose the most typical and dramatic images. In the foreground, the picture is the main character, the middle of the compositions make up the images that reveal it. The background of the picture is the white barge herself with two fuzzy figures. As you know, this machine is the ship, but Burlats work was used to save fuel. On the mast of the vessel, the flag of the Russian Empire develops, the silence of which and criticized the artist.

Rhythmics of the canvase consists of prone and raised heads and figures of people - so deeper felt and the character of their fate is revealed. The tension of the "Burlakov on the Volga" is viewed in the position of their bodies, straining of straps and gravity barges.

The picture was first exhibited in 1873. She instantly became a cult - the images of Burlakov forced to wake up human conscience and realize that the entire empire was built on the bones. Fame came to Repin, but he became a kind of dissident of his time, and the rector of the institution where he studied, said that this canvas denies the entire value of art.

If you remember that before that, landscapes, portraits of artists, illustrations for literary works and Italian scenes, will immediately become clear that the use of folk images was Moveton.

When the picture was at the exhibition in Vienna, visitors were surprised that such work was practiced in Russia, but the burladom itself was abolished only at the beginning of the 20th century.

Interesting explanation for the painting "Burlaki on the Volga"

Burlak is a worker in Russia of the XVI - the beginning of the XX centuries, which, walking along the shore (for this year. Yellow), pulled a river vessel against the current with the help of the Bacchev. In the XVIII-XIX centuries, the main type of vessel, vicious Burlats, was extinguished. Burlats work was seasonal. Boats pulled "Big Water": in spring and autumn. To fulfill the order, the burlaci united into artel. Burlaka's work was extremely heavy and monotonous. The speed of movement depended on the strength of the passing or counter wind. With passing wind on the ship (science), a sail was raised, which significantly accelerated movement. Help the pace of motion burlacs helped songs. One of the famous Burlats songs is "Eh, Dubinushka, Wu, which usually sang for the coordination of the forces Artel to one of the most difficult moments: Helding scrolls after the armature lift.

When Dostoevsky saw this acquaintance from childhood, the picture of Ilya Repin "Burlaci on the Volga", he was very happy that the artist did not have any social protest into it. In the "Writer's Diary" Fedor Mikhailovich noted: "... Burlaki, real burlars and nothing more. None of them shouts from the picture to the viewer: "Look, as I am unhappy and to what extent you will owe people!"
Dostoevsky could not even imagine how many banalities will still be said about this picture and what an invaluable document it will be now for those who want to understand the organization of Burlakov.


What does the picture of Ilya Repin "Burlaki on the Volga" says and why every detail is important
1. Shchonevnik
The wretched coastal strip on which burlaci went. Emperor Paul forbade here to build fences and buildings, but it limited to that. Neither the bushes, nor stones, nor the bore places from the path of Burlakov eliminated, so that the rope written the place can be considered the perfect area of \u200b\u200bthe road.
2. Bryster - Brigadier Burlakov
They became a clever, strong and experienced man who knew a lot of songs. In the artel, which Repein captured, was a shishki pop-balance Kanin (outlines were preserved, where the artist pointed out the names of some characters). The brigadier got worried, that is, fastened his strap, and asked the rhythm of movement. Each pitch of Burlaci was done synchronously with the right leg, then pulling up the left. From this, the entire artel on the move was swaying. If someone came down from the step, people came across shoulders, and the bump gave the team "hay - straw", renewing movement in the leg. To maintain a rhythm on narrow paths over the cliffs, a great skill was required from the brigadier.


3. Ladder - the nearest assistants of the bumps, which are challenged to the right and to the left of it. On the left hand, Ilka-sailor goes from Kanin - an architectural older who purchased a provision and giving out their salary to the burles. In the time of Repin, it was a small - 30 kopecks per day. So much, for example, it was worth crossing all Moscow on the cab by driving with the sign in Lefortovo. Behind the backs of the lamps are needed in need of special control.


4. "Babel", as a person with a tube, at the beginning of the road managed to flush the salary for the entire flight. Being in debt to artel, they worked for Harci and did not try much.

5. Cook and Sokolnaya Streth (that is, he was responsible for the purity of Galuuna on the ship) was the youngest of Burlakov - a rustic guy of a stall who had a real grandfather on himself. Considering your duties more than sufficient, the stall is sometimes scandaling and defiantly refused to pull the strap.

6. "Halturschiki"
In each artel, they came across and simply negligent, like this man with a plenty. At case they were not averse to shifting some of the osses on the shoulders of others.

7. "Warder"
The most conscientious burlaci doried by Halturschikov came from behind.

8. Bone or oblique
Bone or oblique - so called Burlak, closed movement. He watched Bekchva not cling to stones and bushes on the shore. The oblique usually looked at his feet and had a mansion to be able to go in his own rhythm. In Kosya chose experienced, but patients or weak.


9-10. Screen and flag
View of Barki. On these, the Volga Elton Salt, Caspian Fish and Seal Fat, Ural Iron and Persian Goods (Cotton, Silk, Rice, Dried Fruits). Artel was gained by weight of the loaded vessel at the rate of about 250 pounds per person. The cargo that pulls up the river 11 of the burlacs, weighs at least 40 tons.
To order, the bands on the flag were not told carefully, and often raised upside down, as here.


11. Lotsman
Lotsman - man on the steering wheel, actually the captain of the ship. He earns more than the entire artel, together taken, gives instructions to Burlacs and produces maneuvers both steering and blocks regulating the length of the beans. Now the extension makes the turn by chalk.
12. BECHEVA - a cable, to which burlaci is needed. So far, Barca led along the opera, that is, at the very coast, Bchcheva was etched by meters on 30. But the Lotsman loosened it, the extension departs from the shore. A minute later, Bacheva stretches like a string and burlacs will have to first keep the inertia of the vessel, and then pull out of all his might. At this moment, the bump will drag out the spill: "Here they went, yes, / right-left out. / Oh times, again, / more times, once again ... ", etc., until the artel is not howl in rhythm and will not move forward.
13. Watering is a carpenter who caresses and repair the vessel, monitors the safety of the goods, is carried out for it material liability during loading and unloading. Under the Agreement, it has no right to leave the scope during the flight and replaces the host, leading on his behalf.

14. The sail rose to the backward wind, then the ship walked much easier and rather. Now the sail is removed, and the wind is counter, so the burlacs are harder to go and they can't do a wide step.
15. Thread on the extension
From the XVI century, Volzhsky barks were made to decorate intricate carvings. It was believed that she helps the ship to rise against the flow. The best specialists in the country in the country were engaged in the extensions. When, in the 1870s, the steamboats crowded the wooden barks from the river, the masters disperse in search of earnings, and the thirty-year-old era of magnificent carved platforms came in the wooden architecture of Central Russia. Later, a thread that requires high qualifications, gave way to a more primitive drinking on a stencil.

Barge Haulers on the Volga. View from the ship.

There were female artels:

Burlaci women on the Volga. photo 1900s.
Women bureli were not only in Russia


In Western Europe (for example, in Belgium, the Netherlands and France, as well as in Italy), the movement of river vessels with the help of live strength and heavy animals remained to the thirties of the XX century. But in Germany, the use of living force ceased in the second half of the XIX century.

Was it hard to burets?

No river in the world knew such a scope of burladom as a Volga. The main reason for this is purely physical: almost on the entire shipping part of the river the flow rate is not too large. Below we will show the direct connection of the flow rate with the physical activity coming on each burlaka.
The most actively burly worked on a plot from Rybinsk to Astrakhan with a length of 2645 km. Repin shows Vataga Burlakov (11 people), walking "Beachie" on sandy shakes in a windless sunny day. The course "Beachie" began usually above the mouth of Kama. Bicheva was called a strong rope of 3 inches thick (~ 7.5 cm) and a length of about 100 sizes (~ 214 m). The length of Bicheva was chosen so that the vessel can be conducted by a fairly deep place. At the same time, the magnitude of the angle of the AGOR (Fig. 1) should not lead to large losses of the work performed.


I.E. Rupin accurately pointed out the place of attachment of the Beachie (the top of the mast) and its provis. It would seem that Bicheva should be stretched, and it is necessary to fix it so that the angle of the Avert (Fig. 2) was as close as possible to 90 °. Everything would be so if Bicheva was a nausea. In fact, the weight of such a rope was at least 2500-3000 N, and, attaching the rope to the top of the mast height of ~ 30 m, the bulk of the bulk share of the weight "hung" on the mast. It was not by chance that Burlaki did not like when Bicheva began to "pipe", i.e. When it was necessary to go along the high coast, and the place of attachment of Beech We had to be below the Buretsk trail - "Bicchevnik". However, this happened rarely, because The size of the vessel, its carrying capacity and the height of the mast was chosen by the experimental way, taking into account the height of the shores and the depths of the Volga's bed.

The type of vessel in the picture is not difficult - this is the famous Volzhsky branch. The length of the most common extended by a carrying capacity of 20,000 poods was equated to L »25m, width in" 7.5 m, precipitation T "1.8 m, the height of the mast H" 30m, the length of Raina (attached to the crossbar's mast) required for the movement of the sail vessel, Also equal to ~ 30 m.
The distance from Astrakhan to N. Novgorod (2172 km) loaded barks were overcome in 2.5-3 months, trying mainly to move under the sail. In the windless days in the lower times of the Volga with the fast flood waters of the court moved the feed (Fig. 3). In this case, the ship forwards the anchors, and the extension tightened to them with the help of a rope drawn by burlates walking along the deck. At the same time, the rope was 4-5 times longer and 1.5 times thicker Bicheva, but his weight did not complicate his work too much. During the commissioning, there are practically no losses in the work performed due to other geometry of the application of forces. Nevertheless, it is well known that Burlaki preferred Beachie's move. Obviously, additional work associated with the excavation anchor was very burdensome.


We will try to give a quantitative assessment of the gravity of Burlats Labor. Since the vessel is moving at a constant speed, the projection of the force of thrust to the direction of movement is equal to the power of the resistance of the aqueous stream:
Fweights \u003d Fweight.
In the Directory "Satellite Mechanics" ("Vade Mecum") Bernoulli, first translated and published in Russia in 1864, one can find the following assertion: "The resistance to the movement of the vessel is proportional to the submerged part of the largest cross-section of the vessel, as well as the square of the vessel speed." We derive the appropriate formula in modern designations. It turns out qualitatively if you recall that according to the 2nd Newton law, the force is equal to the change in the impulse per unit of time. We write a water flow transmitted during DT, falling orthogonal to the plane submersible in the water, in the form:
P \u003d MV \u003d RVV \u003d RSchdThVcv \u003d RSV2DT.
Here R is the density of water, V is the flow rate of water. Hence the resistance power is equal to:
F \u003d (CX / 2) RSV2.
The dimensionless coefficient CX is determined experimentally for each specific vessel and depends on the encruption. In modern real calculations using several dimensionless parameters, water friction about the entire moistened surface is also taken into account. However, to evaluate a sufficiently reduced formula.
When the scanning is moving against the flow, it should be remembered that the speed of the aqueous stream that has resistance to the movement is equal to the sum of the flow rate of the river V1 and the speed of the V2 burlac.
The specific values \u200b\u200bof the flow rate of the Volga in the time of Repin can be found in the Brockhaus and Efron dictionary. In the spring, in May, the flow rate was changed from 2.5 ft / s in the upwards to 7.7 ft / s below Saratov. In summer, these numbers decreased to 1.5 ft / s and 3 ft / s, respectively. On the Ples, smooth areas of the river, convenient for shipping, can take the flow rate of 2.3 ft / s. From the descriptions of the labor of Burlakov, it follows that "without wind, Bicheva" they overcame on the day along the shore from 5 to 10 miles. Thus, their speed was 0.3-0.6 ft / s. If you take more important, then calculations according to Bernoulli formula, which we do not give, show that the strength of the opposition to the movement of the bark on the Volga Plesa was approximately 2400 N.
To this figure it is necessary to add resistance created by the steering wheel, which must always be kept under some angle to the direction of the flow, otherwise the screed would stick to the beach. For a flat plate, the dimensionless coefficient CX \u003d 1,1, the steering area \u003d 6 m2, and, taking the car \u003d 10 °, we find by the formula:
FSPR. Steering wheel \u003d (CX / 2) RchSchsin Arulu CHV2,
So the additional steering resistance is approximately 400 N.
The thrust force of burlacs (in accordance with Fig. 1 and 2) is calculated by the formula:
FLYADS \u003d FSPR / (COS ARCHSIN Avert).
It is impossible to determine the exact value of these angles in the picture I.E.E. Pepina, but approximately, knowing the length of the Beachcheva, the distance from the burlack trail to the shipping channel (~ 100 m) and the height of the mast, can be considered
COS ARCH SIN Avert \u003d 0.7-0.8. Consequently, the thrust of the burlacs is obtained equal to 3500-4000 N. With the number of Vatagi in 10-11 people, the load on each burlaca is 320-380 N.
Anyone who wants to feel "in the skin" of Burlaka should make a Burlats strap - a leather belt 3 ARSHIN (213.36 cm) and a width of 4 tops (17.78 cm) with ends, stitched together, cross it through a block, rigidly fixed On the support at the chest level, and strengthen the load of 40 kg at the other end (weight 400 H). If you throw the rope through the block, put the strap on the chest and start moving so as to raise the cargo, you will feel about the same load that burlac experienced. Taking into account the fact that the working day of the burlacs lasted from dawn to sunset (with a slight break), it turns out that it was really hard to work by burlack! Note that the main contribution to resistance contributes the flow of the river, so that a reduction in the flow rate by 25% reduces the load by 44%, and an increase in the same amount leads to an increase in the load by 56%.

Vintage lengths of length and weight

1 sage \u003d 3 ARSHIN \u003d 12 quarters \u003d 7 feet \u003d 2,1336 m;
1 Arshin \u003d 4 quarters \u003d 16 vertices \u003d 0.7112 m;
1 verst \u003d 500 seeded \u003d 1066.8 m;
1 m \u003d 2.38 foot;
1 kg of weight \u003d 2.4419 Russian pounds;
1 PUD \u003d 16 kg of weight.

"Burlaki on the Volga" - a picture of Repin, which was created for a long five years. And her idea arose absolutely from another river.

Narget idea

1868 year. Young Repin, a student of the Academy of Arts, having settled on Ust-Izhora to make sketches, faces an untouched harsh truth life. The richly dressed, the fun crowd winnedly shaded the ragged burlates spent her strap. Since then, the artist began to enter the idea of \u200b\u200bcreating a picture of the harsh reality of the bottom of Russia.

His concept completely coincided with trends in the art of the time: the genre of the "Burlaki on the Volga" pattern refers to realistic painting. Critical realism gained momentum. The movement of the mobileians opposed the enslavement of the people to the king, denounced the existing problem in society, led to the revolution.

Initially, the artist wanted to show the contrast between the rich, enjoying the life of the crowd and beggars, exhausted burles. Eloquent rectilinear reproach that existed then rank. However, subsequently the idea undergoes changes. The inflexible strength of the Russian spirit is that it was necessary to show.

Creating a picture

After the first meeting with Burlaca Ilya Repin created sketches and sketches in search of the best plot. The scene, led by him in Ust-Izhora, was soon leaving. Repin took several trips to the Volga. He got acquainted with the burlaca, recognized their fate and characters, carried out portrait sketches. This formed the final picture of the picture.

In 1871, the painting "Burlaki on the Volga" was first put up for everyone to see the community of encouraging artists. However, the work did not seem repinne completed to the end. Another trip to the Volga, and the artist creates the final version of the work.

Composition and artistic value

Nature creates plastic and the background of the main plot. Hot summer day and wild river. Against the background of the prey to the view of the sky and the pure sand on the viewer, the crowd pulling his strap burly. The significance of their figures is emphasized by an intentionally understated horizon line. At first glance, the painting "Burlaci on the Volga" attracts the attention of the brown spot workers, as if they were merging together. However, after looking around, each figure stands out relief. The backs of burlacs are omitted under the severity of the work performed. Going in one rhythm legs are knocked out in the sand.

The game of lighting, the rhythm of the lines, the confidence of smears create the impression of the simplicity of the picture and at the same time of its severity. The color scheme emphasizes the emotional mood of the work - despondency and hopelessness. However, the description of the painting "Burlaci on the Volga" only forces transfers the impression of its contemplation.

It strikes not only the technique of execution of the repeated paintings, but also dimensions are about three meters wide and one and a half in height. If it is possible to think globally, "Burlacks on the Volga" - the film of Repin in some respects epic, monumental.

Characters painting

During his stay on the Volga, Repin often accompanied Burlakov in their work. Each character has a real prototype.

He heads the Artel Pop-View Kanin. His task is to set the rhythm of movement. If the group is knocked down, then he restores synchronicity. On the right and left of the canine surround Ilka-sailor and a dozen bearded. Their task in this Vataga is the control of the coming behind, because they were negligent - who smoked the phone, and who demonstratively protested against inhuman work. Halturschikov poured and behind the coming - the most conscientious burles. Closes the procession an experienced man, but already old and sick. He goes a mansion not to disturb the overall rhythm of movement.

Details

Realistic picture is given carefully prescribed details. View and expressions of the face of each of the characters. Embroidered clothing, Stopanny lapties, intense faces. Smoking tube as a symbol of indifference to what is happening. Open plea - the desire to shift my wear on the shoulders next to the go. The young stall seems to throw off himself, - hope to get rid of the balled, peculiar work. Each detail has been emphasized, the character of each of the one connected one-case, one destiny.

And in the distance you can consider the smallest steamer. Mute evidence that humanly exhausting work is much cheaper than "steam thrust."

Fate picture

Even in the period when the work was only a set of sketches, St. Petersburg artists were going to watch it. Another time to create a painting "Burlaci on the Volga" was very interested in Paul Tretyakov - a subtle connoisseur of art.

The final version was first exhibited in 1873 at the art exhibition of painting and art. Could not force the viewer to pass by "Burlaki on the Volga". The picture caused resonance in the Creator's environment and conflicting opinions. One part of the intelligentsia raised the work, called the "first picture of the whole Russian school", the personification of the era. Another Khayala "Lapacy" "Burlakov". Professor of the Academy of Art Bruni and his conservative adherents made a picture of the "great profanation of art".

In the same year, the canvas was shown at the World Exhibition in Vienna. Conquering a bronze medal, it found and buyer - Prince Vladimir Alexandrovich. Since then, "Burlaki" has not been exhibited for a long time, because they took their place in the Billiard Prince Palace.

The October Revolution returned the world a great picture. Today, the pictorial work is located in the State Russian Museum.

In the broad sense, the picture "Burlaci on the Volga" is the end of the disadvantage of the spirit of the Russian people. The person is even lower and lower towards the ground, but continues, gritting his teeth, go ahead. Probably, therefore, it is still relevant to this day and leaves indifferent spectators.