Modern estates. Lifestyle

Rybalko D. M. (Tula), researcher at the House-Museum of V. V. Veresaev / 2011

“It seems to me: our life is the same sacred forest. We enter it so-so to have fun, to have fun. And everything lives around, everything feels deeply and strongly ... Yes, you need to enter life not as a cheerful reveler, as into a pleasant grove, but with reverent awe, as into a sacred forest, full of life and mystery.

V. V. Veresaev

Following the thoughts of the writer, we will try to reconstruct the speculative historical and literary image of the old noble city estate of the second half of the 19th century, the Smidovich estate in Tula on the street. Verkhne-Dvoryanskaya (now Gogolevskaya St., 82, House-Museum of V.V. Veresaev). After all, the writer, doctor, Pushkinist, translator V.V. Veresaev, who grew up on the same soil with his parents’ garden, absorbed such a reverent attitude to life here: “Until the age of seventeen continuously, and then for many years in the summer I lived in Tula and the Tula province and , of course, was thoroughly saturated with Tula nature. Wherever I portrayed a provincial town (“Without a road”, “On the turn”, “To life”) Tula served me as a material.

Both the accumulated materials from the State Archive of the Tula Region and literary sources will help us to reveal the historical and literary image of the estate: the works and memoirs of the writer himself, which are no less reliable due to the realistic style of writing, very characteristic of V.V. Veresaev.

So, we have a number of documents on the history of the Smidovich estate in Tula: a) the bill of sale fortress of the wife of the doctor E.P. Verkhne-Dvoryanskaya dated April 28, 1867; b) V. I. Smidovich’s petition for the sale of part of the estate located under the garden to his wife, Ms. Smidovich, in order to round off her estate on Verkhne-Dvoryanskaya Street. June 3, 1874; c) the petition of the widow of the court councilor E. P. Smidovich for the construction of a wooden staircase on the 2nd floor of her house dated February 19, 1898. These documents are accompanied by a drawing of the estate with all the buildings - this is a one-story wooden house where the Smidovich family lived; a two-story wooden house that was rented out; sheds and sheds. The borders of the estate and the names of the neighbors are indicated, which shows that the Smidovichi estate has the form of a regular rectangle with sides of 41 and 26 sazhens, with a total area of 4785 square meters. In addition, a description of the estate, or rather the meteorological site on it, can be found in the book by V. I. Smidovich “Meteorological observations in the city of Tula in 1877”, as well as by studying the photographic material and the plan of the house compiled by Veresaev.

These certainly important historical facts that formed the basis for the creation of the museum, by themselves, would never be able to convey the former splendor of estate life, unlike a living writer's word: “... Dad had his own house on Verkhne-Dvoryanskaya Street, and I was born in it. It was a small house with four rooms, with a huge garden... At first, the garden, like all the neighbors, was almost entirely fruit, but my father gradually planted it with barren trees, and already in my memory only here and there stood apple trees, pears and cherries . Strong maples and ash trees kept growing and spreading, the birches of the big avenue rose more and more high, thickets of lilacs and yellow acacia along the fences became thicker and thicker. Every bush in the garden, every tree was intimately familiar to us... And there were the most excellent places for games: under my father's balcony, for example, a dark, low room where you had to walk bending over... A lot of villainy was committed in this dungeon, a lot of robber gangs hid , a lot of torment experienced by the captives ... "

This excerpt from the memoirs of V. V. Veresaev clearly shows how spiritually important a literary source is for us, which draws its authentic reality, reveals the inner world of the estate, and the state of mind of its inhabitants, which historical materials alone cannot convey to an ordinary reader, not a specialist . For us, such a source is “Memoirs” by V. V. Veresaev and a number of his works, where one can see not only the image of the estates native to the writer, but also the realities of the estate Russia. In the story “Without a Road”, thanks to which Veresaev became famous in Russia, the events unfold in the vicinity of an old noble estate in the village of Kasatkino (the prototype is an estate in the village of Zybin, where the writer stayed every summer), then in Slesarsk (Tula), although It is about the decline of the populist movement. In the book we will see the linden alleys of the Zybinsk garden, a large manor house with columns along the facade, the Vashan River, picturesque surroundings. But the image of the estate in the works of Veresaev is often collective, formed from the aromas of the Tula garden and shady ash vaults along the city outskirts, the latitudes of suburban Vladychnia and Zybin.

In addition, a literary source can often either confirm or refute archival evidence. In addition, it contains a lot of factual material. So, for example, having only one plan of the Smidovichi estate, we would never have been able to get a complete picture of it. But now, comparing the documents and the writer's memoirs, we learn that the garden was a park type, mostly maple, lovingly planned and planted by the writer's father Vikenty Ignatievich Smidovich, the shape of a regular quadrangle, large enough for a city estate. In addition to maples, ash, linden, spruce and many shrubs grew in it: elderberry, wild rose, roses, mock orange jasmine. When examining the garden in 1993, 13 trees planted by V. I. Smidovich were identified at the age of 100-130 years, and traces of gravel, balsam, and forget-me-nots were found in the soil. The decoration of the garden was a bush of white rhododendron, which was removed to the greenhouse for the winter. We learn about this again from the memoirs: “When I was still very young, my father was very fond of gardening ... There were greenhouses, there was a small greenhouse. I vaguely remember its warm, steamy air, patterned palm leaves, a wall and ceiling made of dusty glass, mounds of loose, very black earth on the tables, rows of pots with planted cuttings. And I still remember the sonorous, firmly imprinted word "rhododendron" in my memory.

In front of the garden there was a large flower garden, where the rarest flowers grew, which Vikenty Ignatievich lovingly looked after. How much my father valued his garden can be judged by the exceptional case when the future writer was flogged for the only time: “Dad called me, led me to a flower, showed it and said: “See, here is a flower? Not only don't you dare touch him, but don't even come close. If it breaks, it will be very unpleasant for me. Understood? - Understood" . The fact is that Vincent, who was a great inventor and dreamer, understood the pope in such a way that he was instructed to transplant a flower. Of course, he was very flattered by the trust placed in him and made the transplant with all care, for which he was unjustly punished.

The birch alley, laid from the house to the gazebo at the end of the garden, was the main compositional and planning axis of the estate. In the far corner grew a bush of canupera, on a crooked path that went from the yard to the birch alley - Tatar maple, on a round hill - horse chestnut. Yellow acacia, white and blue lilacs grew along the fence. Old Russian varieties of apple trees grew from the fruit trees on the plot: pear, cinnamon, borovinka, antonovka, kitayka, fruits that, according to the writer's memoirs, were so tempting for children, especially on the eve of the apple holiday.

An unusual activity for a noble family was work in the garden, in which not only servants, but also all household members took part: “By the Trinity it was necessary to clean the garden: rake last year’s leaves and branches from the grass, sweep the paths, sprinkle them with sand.” But then an interesting story is revealed to us, about how mother suggested that the children let the old day laborer go, give him money, and finish the work themselves, to which the children happily agreed: “We worked with enthusiasm for three days and cleaned the garden for the holiday ". In addition, a reasonable tradition was instituted by the mother: “Which of us really needed money, he could get mom work in the garden or in the yard ... Mom instructed me to clear the grass and knots from the grass and knots under the big linden tree for a nickel.” And the fight against May beetles: “Spring. The birch trees have just unfolded patterned, cheerful green leaves. May beetles with a businesslike buzzing rush around the birches, and we fuss below - sweaty, out of breath, with eyes popping out on our foreheads ... Nothing subsequently filled me with such pride for the useful work I had done, like this fight with May beetles.

It is important to note that the external decoration of the estate and the arrangement of life in it has always been a reflection of the inner world of its inhabitants. The Smidovich family was very significant for Tula, because the writer's father, a Polish nobleman, was considered one of the best doctors, was known for his social and scientific activities aimed at improving the sanitary condition of the city, the love of the Tula working poor, whom he treated for free and in the first opened by him clinic and at home. He contributed to the construction of the first water pipeline in Tula, the opening of the largest Tula park named after. IP Belousova on the site of the former city dump and much more. He owned an interesting collection of minerals and a library on a variety of branches of knowledge. And he happily handed over his chemical laboratory, located in the basement of the house, to the City Sanitary Commission he created. He conducted systematic meteorological observations, with the help of which he left a detailed description of the features of the Tula climate, so there was a meteorological site on the estate. A description of this site, as well as the results of work on it, we can read in the book "Meteorological observations in the city of Tula for 1877".

It was a tradition in the family to arrange family readings in the evenings, a German language day once a week, children's dance evenings at Christmas time, and invite interesting people. The Smidovichi estate is still the meeting place of the Tula intelligentsia. It is no coincidence that it was here, in a house with such rich family traditions, that the mother of the writer E. P. Yunitskaya, a born teacher, opened the first kindergarten in Russia, “a perfect curiosity in Tula,” writes V. V. Veresaev. There is evidence of this in the Tula Gubernskie Vedomosti of October 25, 1872: “With the permission of the trustee of the Moscow educational district, I open on November 1 of this year on Bolshaya Dvoryanskaya Street, in my own house, a kindergarten for children from 3 to 7 years old” And the signature : Elizaveta Pavlovna.

The father cared not only about the moral and intellectual development of his children, but also, as a doctor, about physical health: “At the end of our garden there was a large platform, and on it there was a “gymnastics”: two tall pillars with a transverse beam; in the middle are climbing poles, a knotted rope, a trapezoid. These structures also served as decorations for children, where, as V.V. Veresaev writes, “there were various adventures of an Indian character”: “Once, after many adventures in different parts of the garden, my sister Arabella and I were captured by the Indians (I was Arthur, Julia - Arabella). The Indians tied us up... It happened in a large arbor at the end of the garden: it was a real plank house, painted green, with an iron roof, with three windows and a door... We carefully climbed out of the window and with the speed of a snake rushing for prey, they set off to run into the virgin forest.

They ran all night and day. In the evening we made a halt on the steps of my father's balcony.

I dropped my ear to the ground, ... parted the jasmine branches - and stopped in my tracks: thirty thousand red-skinned horsemen raced after us ... We ran around the ledge of the house, a black barrel with rainwater, ran along the stable wall to a large linden ... Lying down in the impenetrable bamboo thickets, near the onion beds, I hit my choice of fittings ... "

The memoirs of youth are full of not so much detailed as poetic descriptions of the estate, where you can see what a subtle palette of natural shades it endowed the soul of the future writer: “It was May, our large garden was like a bright green sea, and white and purple foam of blooming lilacs brightened on it. Her scent filled the rooms. Sunshine, shine, joy. And there was not just joy, but a continuous feeling of it.

Recalling the estates in emigration, one of the former authors of the St. Petersburg magazine Apollon, A. Trubnikov, wrote: “The whole essence of Russian culture thickened in the noble estates; they were intellectual greenhouses in which the most beautiful flowers bloomed. Pushkin, Lermontov, Tolstoy, Turgenev, Leskov, our great writers, our best musicians and poets came out of them ... the evolution of our society after Peter was manifested not at all in the architecture of Tsarskoe Selo or the treasures collected by Catherine in the Hermitage, but in the birth of a very peculiar and like nothing else in the world of Russian estates. All of the above applies to our homestead as well.

Great writers (A. S. Pushkin in Zakharov, N. V. Gogol in the village of Vasilievka, Poltava region, M. Yu. Lermontov in Tarkhany, L. N. Tolstoy in Yasnaya Polyana) matured as individuals in the conditions of the estate universe and subsequently all their lives thought in terms of it.

The Tula estate of the Smidovichs is the source of everything: the personality and shades of the writer’s work, the beginning of his life and creative path, the prototype of artistic images, the source of the book and worldview called “living life”, rooted in childhood, in the parent garden. In contrast to I. A. Bunin with his minor perception of the estate world (the Butyrka Farm, where the writer spent his childhood, was away from the main roads in the deepest field silence), Veresaev enthusiastically, joyfully looks at life in an antique way. The author's intoxication with life, living life, nature, music - these are not fictional feelings and images in his works, but genuine ones. We can easily verify this if we read one diary entry made on July 13, 1892 in Tula during the writing of the story “Without a Road”: “Yesterday I arrived from Zybin. Great time. The rural nature alone can make me happy. I reveled in the smell of ripe rye, dewy starry nights, the air, the river. In the evenings, the music of Nadia Stavrovskaya, Beethoven. You sit on the terrace and listen through the open windows and look out into the garden... vague but strikingly beautiful images form in your head.”

All the works of the writer are saturated with the joyful mystery of the living, the open spaces of Tula endowed his soul with their colors, he thinks in terms of earthly beauty. And, perhaps, it was precisely thanks to the natural sense of harmony that V.V. Veresaev entered Russian literature as a public writer, like a tuning fork, reacting to the falsity of the surrounding reality: “And how could I have been so blind before not to see this penetrating everything? life? And as a child, I felt it. I then went up to the window at night and looked out into the garden. In the vague twilight the lilac bushes slumbered mysteriously, strangely living branches stirred against the pale background of the sky, and everything lived its own special, mysterious life. Repulsed, wandering aside, I now returned to her, to this inaccessible mind, but subjugating the soul, the bright mystery of life.

The State Historical Museum and the Union of Photographers of Russia present an exhibition as part of a project to study the photographic estate heritage

GIM, until April 6, 2015
Main building of the Historical Museum, Resurrection Gates
Moscow, Red Square, 1

The State Historical Museum and the Union of Photographers of Russia held the competition "Image of a Russian Estate" as part of a project to study the photographic estate heritage. More than 500 works were submitted to the competition, made in 1987–2014 and depicting many estates in central Russia. The best photographic works - the winners of the competition - are presented at the exhibition within the walls of the State Historical Museum.

The Russian estate was the basis of the noble life, economy and culture of the Russian Empire. As a vivid expression of the national genius and a place of contact between the elite and folk cultures, it embodied Russia, its harmonious ideal hypostasis. The disappeared Atlantis of the Russian estate left a lot of documentary and artistic evidence. Photographic images testify to this phenomenon of the Russian world visibly, many-sidedly, completely. The Russian estate is a favorite topic of many generations of photographers, various creative tasks and professional skills. Some authors saw their task in the documentary fixation of architectural and landscape objects, others considered photography as a pleasant pastime during leisure hours, and still others sought to create works of art by means of light painting.

In the 1920s and 1930s, when the cultural traditions of pre-revolutionary Russia turned out to be alien to the new authorities, this theme acquired a special dramatic meaning. The plans of the largest creative union of the Russian Photographic Society included holding the exhibition “Russian Estate in Photography” in the late 1920s, the organization of which was undertaken by the famous photographer Yu. P. Eremin. Outstanding masters of lighting N. I. Svishchov-Paola, A. D. Grinberg, P. V. Klepikov were fascinated by the manor plot. They sought, first of all, to create a new image of the estate, which embodied not the beautiful “leaving” Silver Age, but the “former”, irretrievably lost, perishing past. The exhibition did not take place. Photographers were accused of being “more sweeter than the old” than the new, critics noted the social alienation of the estate theme to the new system and the old-fashionedness of such subjects. The 1920s–30s were the last significant period in the development of the manor theme in artistic photography. For the next decades, this topic remained the property of the documentary-fixing and amateur trends.

The Russian Photographic Society, to a certain extent, was the prototype of the Union of Photographers of Russia, created in 1991. The Image of a Russian Manor competition was conceived to support and update the important topic of preserving the national heritage and continuing photographic traditions. Its results showed that it was the creation of the image of the estate that became the main thing for the participants of the competition, as it used to be for members of the Russian Photographic Society. Photographers, using a variety of shooting tools, expressed their own views on this significant phenomenon of national history and culture. In general, the complex of competitive works is a "snapshot" of the current state of the estate: sometimes - museumified, more often - collapsing or almost lost.

The words of the chairman of the Society for the Study of the Russian Estate A. N. Grech, written in 1932, are still relevant today: “ In ten years, a grandiose necropolis was created. It contains the culture of two centuries. Monuments of art and everyday life, thoughts and images that inspire Russian poetry, literature and music, and social thought are buried here.". Russian photographers have made a significant contribution to the preservation of historical memory. Once Yu. P. Eremin explained to his opponents: “ It seemed to me necessary and exciting to photograph the architecture of the old estate, I considered it important to preserve these documents of the past for our present.". The works of the contest participants demonstrated that interest in this important topic exists and, we hope, will not be exhausted.

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The Russian estate was the basis of the economy and culture of the Russian Empire. Description of the estate way of life of the nobility we find in the works of Pushkin, Dostoevsky, Tolstoy. Beautiful mansions with gardens, parks and ponds have been captured by painters of more than one generation, including Kandinsky and Sudeikin. The ROSPHOTO exposition shows another side of estate life - photographs from the collection of the State Historical Museum, allowing you to plunge into the atmosphere of our country's past, to see professional and amateur photographs of long-forgotten or abandoned estates.

The exhibition opens with custom-made views of estates, made by masters of the famous photography studio in the 19th century. As a rule, these photographs are reminiscent of today's advertising shoot, as they are intended to show the estate at its best both in terms of architecture and landscape. They are also of a somewhat presentational nature, since they are portraits of the owners against the backdrop of their own estates. The estates of Ostafyevo, Arkhangelskoye, Ilyinskoye and others are depicted in a similar way.

Peasants at the manor house in Nikolsko-Prozorovsky. Photo by Mikhail Tulinov. Mid 1860s

View of the main house in Islavsky. Unknown photographer. 1914

Waiting for the horse. Photo by Nikolai Krotkov. 1899

On the contrary, the amateur photographs presented at the exhibition are distinguished by the immediacy of the plot and the liveliness of the composition. The authors of these pictures are usually the owners of the estates or one of their guests. These shots, taken from family albums, convey the atmosphere of manor life in the best way - picnics on the grass, boat rides, hiking, secluded corners of the park and the surrounding area dear to the heart.

Interior in Pokrovsky. Atelier "Photograph of the Resurrection Monastery of Hierodeacon Diodorus". 1878

Portrait of Princess Zinaida Nikolaevna Yusupova in Arkhangelsk. Photo by Daniil Asikritov. Around 1900

Girl with roses. Photo by Nikolai Petrov. 1900s

The photographs of the beginning of the 20th century do not so much convey the atmosphere as they try to preserve the phenomenon of the Russian estate for history. This is not an artistic or staged shoot, but rather a photographic documentation of a passing history for future generations. And already in the 1920s, photographers were photographing the estate as a culture that had been lost and irretrievably sunk into the past.

Address: St. Petersburg, st. B. Morskaya, 35. Exhibition Hall of the Front Building, 2nd floor.

We thank ROSPHOTO for the provided photos.

The State Museum and Exhibition Center ROSPHOTO together with the State Historical Museum present the exhibition “The Image of a Russian Manor in Photography”, demonstrating a collection of manor photography of the 1860s-1920s from the collection of the Historical Museum. The exhibition allows trace the evolution of the estate theme in photography and identify the main directions of estate plots in Russian photography.

The estate, as the basis of the life of the nobility, economy and culture of the Russian Empire, was a vivid expression of the national genius and a place of contact between elite and folk cultures. Equivalent from a historical point of view, although not equal in artistic qualities, photographic images of the Russian estate create a diverse picture of the bygone estate culture, the poetic world of family nests and the private life of large noble and merchant families. The manor appears at the exhibition from several angles: from the front views of large estates and amateur photographs from family albums to artistic images of ancient parks and abandoned estates.

The exposition opens with custom-made views of estates made by masters of the largest photographic studios. The photographs, often large in size and specially designed, show winning views of the architectural complex and landscape, as well as portraits of the owners in their favorite estates. The plot of the estate views, the features of printing, and sometimes the composition were determined not only by the views of the photographer himself, but also by the wishes of the customer. Many famous estates (Ostafyevo, Arkhangelskoye, Ilyinskoye), which served as central residences for their owners, are depicted in this way. The exhibition exhibits unique examples of early estate photography of the 1860s - photographs of the Nikolskoye-Obolyaninovo estate, made by M.N. Sherer, and Nikolskoye-Prozorovskoye by M.B. Tulinov.

The second section is dedicated to amateur photography. The authors of these pictures are the owners and guests of the estates themselves. Photos distinguishes the immediacy of the plots and the liveliness of the composition. At the turn of the century, photography became an accessible form of artistic activity. Summer leisure in Russian society has traditionally been associated with the estate, so images of everyday pleasurable life on the estate have become widespread in amateur photography. The appearance of amateur photographs is not related to the aesthetic or historical value of the estate, they are born from the harmonious atmosphere of the estate life, common family activities. The subjects of the photographs are varied: genre scenes (picnics on the grass, boating, hiking), portraits of servants and guests, private rooms of the upper floor, sweet nooks and crannies of the park and its environs.

The photographs of the next section reflect the interest that arose at the beginning of the 20th century in the study and preservation of the Russian estate with its artistic and historical artifacts.

The estate is beginning to be perceived as a unique synthetic phenomenon of art and a place of ancestral memory. Photographers strive to capture the features of the architectural ensemble and the interior complex of estates. A number of masters turn to photography of architecture and genre for the purpose of photographic documentation of monuments: P. P. Pavlov, N. N. Ushakov, A. A. Ivanov-Terentiev.

At the beginning of the 20th century, the myth of the Russian estate took shape in literary and artistic form, and an idea was formed of it as a symbol of the outgoing noble culture. The author's view of the photographers was attracted by the details and landscapes, which conveyed the special passionistic mood of the estate life - the poetry of dying, the outgoing greatness. The main objects of the image - the manor nature and the park - became spiritualized, emotionally colored. The idea of the estate was embodied in the iconic images of art photography: a young lady and a park alley. In some works, the artistically transformed image of the estate, as if covered with a light haze of memories, corresponds to the techniques of pictorial photography. The works of this section come from the fund of the Russian Photographic Society - the pearl of the photo collection of the Historical Museum. Photos of N. S. Krotkov, V. N. Chasovnikov, V. N. Shokhin were shown at photographic competitions and were selected by the Society to create a museum. The estate theme was also reflected in the works of the famous masters A. S. Mazurin and N. A. Petrov .

The last significant period in the development of the estate theme in artistic lighting was the 1920s. The great interest in the study of the estate heritage and the poetry of ruined nests attracted leading Soviet photo artists. At that time, having become exclusively a phenomenon of the past, the estate acquired the possibility of new interpretations. The exhibition presents photo studies of the outstanding domestic master A. D. Grinberg, who sought to create a new image of the estate. The works of the photographer embody not the beautiful “outgoing” Silver Age, but the “former”, irretrievably lost, dead past. Most of these estate photographs were shown at the famous 1928 exhibition "Soviet Photography in 10 Years". Subsequently, the disappearance of the estate culture as a living and powerful tradition led to the absence of its image in Soviet photography.