Аннотация: Relocation (return) and the theme "Napoleon in Russia." A note about chapters 28-34 of the book "Vereshchagin"
Relocation (return) and the theme "Napoleon in Russia." A note about chapters 28-34 of the book "Vereshchagin"
The main creative 'flag' under which Vereshchagin moved (returned) to Russia was the creation of paintings on the theme 'Napoleon's Invasion of Russia in 1812'. The Balkan War of 1877-1878 gradually was dissolving, was disappearing in the past. And dear, living wife and children were nearby ...
This life period (the period of moving (returning) and of the theme 'Napoleon in Russia') ended with a trip of Vasily Vereshchagin to the Philippines and the creation of paintings about the military clashes between the American troops and an opposing formations.
But not only the work on the Napoleonic Series set the tone for this period.
The house, built in the vicinity of Moscow, was not suitable for living for many reasons.
Having discovered the unsuitability of the house for a normal life, Vereshchagin acts in two directions.
Firstly, he is trying to receive a permission from the Ministry of the Udels [министерство уделов] to build another house next to Moscow in another place (a visiting to an authorities for a finding the 'strings', "threads", to be pulled for, is a traditional Russian fun [a joyful employment]).
Secondly, he is acquiring a plot of land on the Black Sea coast near Sukhumi and plans to build a house and a workshop on the coast (arranging residences in romantic and distant places is another, universal, a joyful kind of activity).
In creative terms, work is going on in two directions.
Work continues on paintings on the theme "Napoleon's invasion of Russia in 1812." Not only the topic in itself attracts attention, but also the semantic emphasis - the placement of French military leaders in Russian, Orthodox churches ...
In the Russian North, Vereshchagin writes sketches. The focus is on people, landscapes, churches ...
Vereshchagin writes articles and books. Different authors write about Vereshchagin.
Exhibitions are being organized, the center of which are paintings about Napoleon and sketches written in the Russian North ...
Art collectors, the public are tight-fisted people [people forced to think about saving money], and the government (the owner of a real, of a big finance) is not going to rapprochement yet.
At the beginning of 1901, Vereshchagin headed to the Philippines and created paintings on the actions of American troops there.
Why did he have to go to the Philippines? (Vereshchagin had no particular desire to go to trip...).
The series of paintings 'Napoleon in Russia' has not yet improved Vereshchagin's relationship with the imperial family and with the authorities. Although, it would seem, patriotism was obvious. A benevolence for Vereshchagin was demonstrating - but at a minimum level.
The art collectors and the public remembered Vereshchagin, knew him, appreciated. But the "Napoleonic series" did not cause a much interest.
A paintings about the Russian North could bring neither a much popularity, nor a substantial income.
On the one hand, there are problems with the new Moscow house and attempts to build additional new houses. On the other hand, Vasily Vereshchagin becomes a father for the fourth time.
A relocation (a returning) and working on the theme 'Napoleon in Russia' has not yet brought obvious benefits in any sense.
Some life period logically ended.
Vereshchagin had to part with his beloved family and to create paintings on the topic "military operations in the Philippines."
'While traveling around the outskirts of Manila, where American power, led by the Philippine military governor General Arthur MacArthur Jr., has already strengthened, the artist made sketches of the area, houses, and figures of American soldiers. A paintings about this war were created by him upon his return to Russia. Subsequently, a significant portion of them were sold in America. Some plots can be judged by the names: 'General MacArthur with headquarters in Kalukan [Bulacan]' and 'Battle of Zapote River'. Apparently, these paintings were completely devoid of a condemning pathos that distinguished the former military paintings of Vereshchagin. Not without reason, during the exhibition in Chicago and New York, the public perceived them as an artistic glorification of the valiant American troops fighting in a distant land. ' (A.I. Kudrya 'Vereshchagin').
Presumably, we will speak on the topic of a condemning pathos. Most likely, the losses of the American (as well as British) troops were relatively insignificant, the life of the military was relatively comfortable, and the results obtained after hostilities were noticeable and positive. Knowing about other traditions, Vereshchagin, perhaps, had no reason for the expressing of a condemning pathos. (Not to get the condemning pathos from a hat like a magician?).
We will suggest that it was possible to go to the Philippines from France, without having a puzzles in relations with the imperial family, with the Russian authorities, without being bogged down in attempts to build more and more new houses ...
With the completion of the 'period of relocation and Napoleon's theme', a period began, which can conditionally be called the period of Vereshchagin's work in the USA, the period of writing paintings on the 'American theme'. (At a new stage in Vereshchagin's life, during an auction in the USA, after the attention that 26th president of the United States Theodore Roosevelt paid to Vereshchagin's work, the Russian government acquired 20 paintings from Vereshchagin on Napoleon's invasion of Russia).
May 22, 2020 22:44
Translation from Russian into English: May 23, 2020 12:06.
Владимир Владимирович Залесский 'Переезд (возвращение) и тема 'Наполеон в России'. Заметка о главах 28-34 книги 'Верещагин''.