Natasha's Dance (168 page)

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Authors: Orlando Figes

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SERF ARTISTS. Nikolai Argunov: Portrait of Praskovya Sheremeteva (1802). At the time
SERF ARTISTS. Nikolai Argunov: Portrait of Praskovya Sheremeteva (1802). At the time
SERF ARTISTS. Nikolai Argunov: Portrait of Praskovya Sheremeteva (1802). At the time
Nikolai Argunov:
(1802). At the time of this portrait the serf singer’s marriage to Count Sheremetev (whos
IMAGES OF DOMESTICITY.
IMAGES OF DOMESTICITY.
IMAGES OF DOMESTICITY.
IMAGES OF DOMESTICITY.
IMAGES OF DOMESTICITY.
Left: Vasily Tropinin: Portrait of Pushkin (1827). Wearing a khalat, the writer is portra
Left: Vasily Tropinin: Portrait of Pushkin (1827). Wearing a khalat, the writer is portra
Left: Vasily Tropinin: Portrait of Pushkin (1827). Wearing a khalat, the writer is portra
Vasily Tropinin:
(1827). Wearing a
the writer is portrayed as a European gentleman yet perfectly at ease with the customs of h
Below: Alexei Venetsianov: Morning of the Lady of the Manor (1823), a picture of what Herze
Below: Alexei Venetsianov: Morning of the Lady of the Manor (1823), a picture of what Herze
Below: Alexei Venetsianov: Morning of the Lady of the Manor (1823), a picture of what Herze
Alexei Venetsianov:
(1823), a picture of what Herzen called the ‘feudal bond of affection’ between the noble
RUSSIAN PASTORAL. Above: Venetsianov: In the Ploughed Field: Spring
RUSSIAN PASTORAL. Above: Venetsianov: In the Ploughed Field: Spring
RUSSIAN PASTORAL. Above: Venetsianov: In the Ploughed Field: Spring
Venetsianov:
1827), an idealized depiction of the female agricultural labourer in traditional Rus
1827), an idealized depiction of the female agricultural labourer in traditional Rus
1827), an idealized depiction of the female agricultural labourer in traditional Rus
1827), an idealized depiction of the female agricultural labourer in traditional Rus
Vasily Perov:
(1871). Like Turgenev, Perov portrays hunting as a recreation that brought the social cl
MOSCOW RETROSPECT. Above: The Kremlin’s Terem Palace
MOSCOW RETROSPECT. Above: The Kremlin’s Terem Palace
MOSCOW RETROSPECT. Above: The Kremlin’s Terem Palace
MOSCOW RETROSPECT.
The Kremlin’s Terem Palace
restored in the1850s by Fedor Solntsev in the seventeenth-century Muscovite
restored in the1850s by Fedor Solntsev in the seventeenth-century Muscovite
restored in the1850s by Fedor Solntsev in the seventeenth-century Muscovite
restored in the1850s
by Fedor Solntsev in the seventeenth-century Muscovite
style, complete with tiled ovens and kokoshnik-shaped arches. Below: Vasily
style, complete with tiled ovens and kokoshnik-shaped arches. Below: Vasily
style, complete with tiled ovens and kokoshnik-shaped arches. Below: Vasily
style, complete with tiled ovens and
shaped
arches.
Vasily
Surikov: The Boyar’s Wife Morozova (1884). The faces were all drawn by
Surikov: The Boyar’s Wife Morozova (1884). The faces were all drawn by
Surikov: The Boyar’s Wife Morozova (1884). The faces were all drawn by
Surikov:
(1884). The faces were all drawn by
Surikov from Old Believers living in Moscow.
Surikov from Old Believers living in Moscow.
Surikov from Old Believers living in Moscow.
Surikov from Old Believers living in Moscow.
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
The Faberge Workshop in Moscow crafted objects in a Russian style that was very different
Imperial Presentation Kovsh (an ancient type of ladle) in green nephrite, gold, enamel
siren vase by Sergei Vashkov (1908). The female bird wears a
and her
wings are set with tourmalines.
wings are set with tourmalines.
wings are set with tourmalines.
wings are set with tourmalines.
THE ARTIST AND THE PEOPLE’S
THE ARTIST AND THE PEOPLE’S
THE ARTIST AND THE PEOPLE’S
THE ARTIST AND THE PEOPLE’S
CAUSE. Ilya Repin’s Portrait of Vladimir Stasov (1873), the nationalist critic whose do
CAUSE. Ilya Repin’s Portrait of Vladimir Stasov (1873), the nationalist critic whose do
CAUSE. Ilya Repin’s Portrait of Vladimir Stasov (1873), the nationalist critic whose do
Ilya Repin’s
the nationalist critic whose dogmatic views on the need for art to engage with the peop
Repin:
Stasov saw the painting as a commen- tary on the latent force of social protest in the Rus
Ivan Kramskoi:
(1874) - a startlingly ethnographic portrait of the peasant as an individual human bein
Leon Bakst: Portrait of Diaghilev with his Nanny (1906). Diaghilev had never known his mot
Leon Bakst: Portrait of Diaghilev with his Nanny (1906). Diaghilev had never known his mot
Leon Bakst: Portrait of Diaghilev with his Nanny (1906). Diaghilev had never known his mot
Leon Bakst:
(1906). Diaghilev had never known his mother, who had died when he was born.
Writers, too, immersed themselves in peasant life. In the words of Saltykov-Shchedrin, the p
Writers, too, immersed themselves in peasant life. In the words of Saltykov-Shchedrin, the p
Writers, too, immersed themselves in peasant life. In the words of Saltykov-Shchedrin, the p
9
Sketches from a Hunter’s Album.
Sketches from a Hunter’s Album
10
Of all those writing about peasants, none was more inspiring to
Of all those writing about peasants, none was more inspiring to
Of all those writing about peasants, none was more inspiring to
the Populists than Nikolai Nekrasov. Nekrasov’s poetry gave a new, authentic voice to t
the Populists than Nikolai Nekrasov. Nekrasov’s poetry gave a new, authentic voice to t
the Populists than Nikolai Nekrasov. Nekrasov’s poetry gave a new, authentic voice to t
Who Is Happy in Russia?
the people’s cause, but its angry condemnation of the gentry class, from which Nekrasov him
the people’s cause, but its angry condemnation of the gentry class, from which Nekrasov him
the people’s cause, but its angry condemnation of the gentry class, from which Nekrasov him
On the Road
The Peddlers
11
The question of the peasant may have been the question of the day. But every answer was a
The question of the peasant may have been the question of the day. But every answer was a
The question of the peasant may have been the question of the day. But every answer was a
The question of the people and our view of them… is our most important question, a ques
The question of the people and our view of them… is our most important question, a ques
The question of the people and our view of them… is our most important question, a ques
12
Each theory ascribed certain virtues to the peasant which it then took as the essence of
Each theory ascribed certain virtues to the peasant which it then took as the essence of
Each theory ascribed certain virtues to the peasant which it then took as the essence of
13
muzhik’
we
14
This convergence on the peasant issue was indicative of a broader national consensus o
This convergence on the peasant issue was indicative of a broader national consensus o
This convergence on the peasant issue was indicative of a broader national consensus o
far as art was concerned, he was ‘inclined to side with the Slavophiles’ against the cosmo
far as art was concerned, he was ‘inclined to side with the Slavophiles’ against the cosmo
far as art was concerned, he was ‘inclined to side with the Slavophiles’ against the cosmo
15
16
and
Populism was the cultural product of this synthesis and, as such, it became something of a n
Populism was the cultural product of this synthesis and, as such, it became something of a n
Populism was the cultural product of this synthesis and, as such, it became something of a n
… the intelligentsia cram their bookcases with anthologies of folk-songs, epics, legend
… the intelligentsia cram their bookcases with anthologies of folk-songs, epics, legend
… the intelligentsia cram their bookcases with anthologies of folk-songs, epics, legend
17
The intelligentsia was defined by its mission of service to the people, just as the nob
The intelligentsia was defined by its mission of service to the people, just as the nob
The intelligentsia was defined by its mission of service to the people, just as the nob
After 1861 the government set up a whole range of institutions to improve the welfare of
After 1861 the government set up a whole range of institutions to improve the welfare of
After 1861 the government set up a whole range of institutions to improve the welfare of
zemstvos,
zemstvos
zemstvo
The Minister of Justice, in a report to the Tsar, listed a whole catalogue of foolish act
The Minister of Justice, in a report to the Tsar, listed a whole catalogue of foolish act
The Minister of Justice, in a report to the Tsar, listed a whole catalogue of foolish act
18
19
* The hopes of the zemstvo liberals were never realized. After the assassination of
* The hopes of the zemstvo liberals were never realized. After the assassination of
* The hopes of the zemstvo liberals were never realized. After the assassination of
zemstvo
zemstvos
zemstvos
zemstvo
zemstvo
To, chego bol’she ne budet
(whose writings had inspired the student radicals) so that he could publish his journal Fo
(whose writings had inspired the student radicals) so that he could publish his journal Fo
(whose writings had inspired the student radicals) so that he could publish his journal Fo
Forwards!
20
Virgin Soil
21
Which is just how it turned out. Most of the students were met by a cautious suspicion or h
Which is just how it turned out. Most of the students were met by a cautious suspicion or h
Which is just how it turned out. Most of the students were met by a cautious suspicion or h
22
23
24
Rounded up by the police, forced into exile or underground, the Populists returned from
Rounded up by the police, forced into exile or underground, the Populists returned from
Rounded up by the police, forced into exile or underground, the Populists returned from
their minds did not in fact exist - it was no more than a theory and a myth - and that they were
their minds did not in fact exist - it was no more than a theory and a myth - and that they were
their minds did not in fact exist - it was no more than a theory and a myth - and that they were
2
2
2
2
2
In the summer of 1870 Ilia Repin left St Petersburg for ‘an undiscovered land’.25 Together
In the summer of 1870 Ilia Repin left St Petersburg for ‘an undiscovered land’.25 Together
In the summer of 1870 Ilia Repin left St Petersburg for ‘an undiscovered land’.25 Together
25
It took two years to obtain the finance and the permits for their trip - the Tsarist autho
It took two years to obtain the finance and the permits for their trip - the Tsarist autho
It took two years to obtain the finance and the permits for their trip - the Tsarist autho
insignia on the letterhead was enough to restore calm. ‘See,’ said the village scribe who
insignia on the letterhead was enough to restore calm. ‘See,’ said the village scribe who
insignia on the letterhead was enough to restore calm. ‘See,’ said the village scribe who
26
Eventually the painter found a team of haulers who, for a fee, allowed him to sketch them. Fo
Eventually the painter found a team of haulers who, for a fee, allowed him to sketch them. Fo
Eventually the painter found a team of haulers who, for a fee, allowed him to sketch them. Fo
27
There was something eastern and ancient about it… the face of a Scyth… And what eyes! What de
There was something eastern and ancient about it… the face of a Scyth… And what eyes! What de
There was something eastern and ancient about it… the face of a Scyth… And what eyes! What de
28
In the final painting of The Volga Barge Haulers (1873) (plate n) it is this human dignity
In the final painting of The Volga Barge Haulers (1873) (plate n) it is this human dignity
In the final painting of The Volga Barge Haulers (1873) (plate n) it is this human dignity
The Volga Barge Haulers
seeing it instead as an epic portrait of the Russian character. What Repin meant, howeve

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