Pattern Peter I interrogates my son. "Peter I interrogates Tsarevich Alexei Petrovich" in the Tretyakovka. "Peter I Interrogates Tsarevich Alexey"

21.06.2021 Insulin

"Peter I interrogates Tsarevich Alexey in Peterhof" (1871).
Canvas, oil. 135.7 x 173 cm.
State Tretyakov Gallery
Moscow

The picture shows the historical and family drama of the Tsar reformer Peter I. Tsarevich Alexey, the firstborn of Peter I, was a man of challenging destiny. This was largely due to the circumstances of his life, which did not depend on the will of the young heir. He brought up in a boyars who hated Peter for his transformation and for the harsh struggle with these battles, or rather, with their backward and suede glances. Tsarevich's mother, Evdokia Lopukhin - also from the boyars.

The nature of Tsarevich Alexey was the direct opposite of his father. In addition, he felt a strong insult for his mother, which Peter forcibly exiled to the Suzdal Monastery. So the heir was not the successor of father affairs, but their enemy, besides the conspirator. He fled from Russia, but was returned and declared a criminal.

And here in such a title, he appears before the Terrible Father.

Who can say now that they felt both at the moment depicted in the picture? You can only guess this. One clear: depicted a tragedy. The tragedy is historical, which was characteristic of all Russia: It was hard for Peter I to break the old and literally to build a new state on the blood. And he needed an assistant, the closest man is a son. But, unfortunately, he lost the heir to the reformer in the face of his son. And here the personal tragedy already begins: in this case, he lost his son forever, because it was impossible to maintain only family relationships with an ideological enemy for energetic, with an iron will and the unsaturated thirst for the father's activity it was impossible.

On the picture N. GE, everything is historically reliably, up to the composition. Although it is only possible to imagine the doubts of the artist in how to correctly depict the scene, what to make an accent. After all, many were then confident in the fault of the "king of the son", and Tsarevich himself was declared a victim of a treacherous father. But in this issue, the artist helped the historian N.I. Kostomarov, who believed that Tsarevich Alexey came in relation to the Father unsightly and that his execution was a natural melted. But the artist himself doubted that public interests could be higher than his father's senses.

And now a picture appeared. The mighty figure of the Sitting Tsar is depicted with a gaze facing his son. Nearby is a son - tired, with hopelessly lowered head. The rapid explanation has already happened, and Peter seems to be waiting for a response from the son. He is already confident in his fault, but it seems that still does not leave hope for his repentance. But Tsarevich is as if sought, in confusion, having filled the eyes. Historian M.P. Pogodin argues that "In sincere, sincere letters, he is such as in fact, without embellishment and stretches, - and it should be aware that all these documents speak more in his favor than to the detriment. It was a man of pious, of course, in his inquisitive, reasonable, calculating and kind, cheerful, hunter to try. " Nikolai Ge, according to him, sympathized with the unfortunate destiny of Tsarevich, when he wrote his picture.

However, Tsarevich Alexey was not a powerless victim: he was stubborn and did not want to obey the will of the Father - there is his courage, he is an equal opponent of Peter.

This picture will always be relevant. Yes, the argument between the heroes of the canvas is over, the passions lay down, all the words are said, the continuation and outcome of the case are also known to everyone. But the echo of this dispute continues to sound today - this is a dispute about the historical paths of the country and the price that you have to pay the ruler for your actions.

Peter I interrogates Tsarevich Alexey

Ge Nikolai

The famous Liberty of Nikolai Nikolayevich, Peter I interrogates Tsarevich Alexei in Peterhof, includes the number of paintings by the widespread viewer from childhood and living in the historical and cultural memory of the people. More often this picture is simply called "King Peter and Tsarevich Alexey". The family drama of the King converter Peter I is one of the most notable pages of Russian history. Almost 150 years ago, N. GE wrote this picture, the reproductions of which were reproduced in numerous artistic publications and postcards.

In 1872, an exhibition dedicated to the 200th anniversary of Peter I was to be held in Moscow. It was obscured by N. GE to the idea to write a picture from the life of the Great Tsar reformer: "I felt everywhere and in all the influence and trail of Petrovskaya reform. The feeling it was so strong that I was involuntarily carried away by Peter and, under the influence of this hobbies, I conceived my picture "Peter I and Tsarevich Alexey".

From the turbulent history of King Peter, the artist in his picture depicts the moment when Peter I had to worry about the heavy drama between the consciousness of public debt and fatherly feelings. The fate of the primacy of the Tsar Peter was tragically, many circumstances played their fateful role in it. First of all, the environment in which Alexey Tsarevich was brought up is the environment of his mother, the boyars's daughter Evdokia Lopukhina. These were siblings of old boyars, hated Peter I for transformation and for the harsh struggle with "big beards".

The nature of Tsarevich himself, Alexey, too, was the direct opposite of his father-with his inexhaustible energy, enterprise, iron will and insatiable thirst for activity. And resentment on the Father, forcibly complied with the young queen Evdokia in the Suzdal Monastery. The heir to Peter I became not a follower of father's affairs, but their enemy, a loan and a conspirator. Subsequently, he had to flee from his native country, but returned to Russia, he was declared a criminal and appears before the face of the Father. But here there was not only a great personal tragedy of Peter-Father, who lost the Son of the Heir-reformer in the face. The conflict, laid by N. Ge, the basis of the plot of the picture, develops from a purely family and reflects the historical tragedy. This tragedy was characteristic of all Russia, when Peter I, breaking the old state, built a new state on the blood.

Events are interpreted by N. Ge extremely simple, the romantic emotion of his former gospel canvases gave way to strict historical objectivity, so in his picture everything is vital - and the selected situation, the situation, and the artistic characteristic, and the composition of the whole work. However, proceeding to work on the picture, N. GE found himself before choosing. Many were then confident in the fault of the "king of the son", and Tsarevich himself was declared a victim of a treacherous father. However, the historian N. I. Kostomaraov, who N. Ge, knew well, did not agree with such lighting of events, and he considered him an outstanding talent, a historian with a clear mind. The incomes of Tsarevich Alexey for N. Kostomarov were a matter of proven, and the execution of the law. True, he stipulates that Peter I did from the son of the enemy himself.

In this situation, N. Ge, when it was necessary to get up on a certain point of view or to look for a historical guide thread. If Tsarevich is strongly condemned, then in this case, it is necessary to compare it with the "virtuous" father, and the artist could not decide. Yes, and there was no reason for this, for he himself recognized: "I fell like a sympathy for Peter, but, having studied many documents, I saw that there could be no sympathies. I inflicted the sympathy for Peter, said that he had public interests above the feeling of his father, and it justified cruelty, but killed the ideal. " And then N. Ge decided to combine the efforts of the historian and the artist. Without tired, he works in the Hermitage, studying all the picturesque and graphic images of Peter I and Tsarevich Alexey. In Peterhof Montplasir, he visited Peter's room, looked at his clothes, personal belongings, then returned to his workshop and began to make sketches and sketches.

First, in pencil sketches, Peter I was depicted one: sitting at the table and lowering his head, he painfully reflects. In front of him are documents, irrefutably proving the guilt of the Son. But while the family drama, which N. Ge, so wanted to artically materialize, is not felt, and a new sketch appears. On him, the mighty figure of the Sitting King is given silhouette on the background of the window, in the rays of bright daylight. Nearby is a son - tired and hopelessly lowered his head. But the artist refused to and from this option, since it was too clearly the alignment of one hero at the expense of another. In the final version of Petr I sit at the table and looks at the son's gaze. Just happened a rapid explanation, and the king Peter seems to be waiting for the answer from the son. Tsarevich, as a ghost man, it is as if sought, in confusion, having filled out eyes.

The scattered light of a cloudy day, the restrained flavor give the picture a real intonation, all the attention of the artist focuses on the psychological expressiveness of people and figures - their facial expressions, gestures, poses. After a rapid dispute, the gust of anger in Peter is replaced by painful confidence in the guilt of the son. All the words are said, all charges are presented, in the room reigns intense, nervous silence. Inquisitively and intently browsing Peter I in Tsarevich Alexey, trying to see, unravel it, still not leaving hope for the repentance of his son. Under the view of the father, he lowered his eyes, but the dialogue between them continues internally, in complete silence.

In the picture of N. Ge, the moment of action is surprisingly selected, which makes it possible to understand what happened and guess about the future. And about what it will be scary, says much. And first of all, the red tablecloth falls on the floor, an irresistible barrier sharing the figures of the father and son. This N. GE sought the main thing: the death sentence was ready to sign not a vengeial executioner, but a father wounded in the very heart - all the weighing state politician, but still heightened a person. The tragic collision painting is hidden as if inside, the artist is here without amazing color strikes, the canvas is lit gently, almost imperceptibly. Paints in its picture are not glowing, they will not shine, like hot coal, and neutrally live in a darkened space.

All details are carefully discharged on the canvas, they not only specify the place and time of action, but also participate in the characteristics of the acting paintings. Simple furniture hanging on the "Dutch" pictures are talking about the simple tastes of Peter, and in this European view, Alexey, brought up in Terem, feels a stranger. Fear of the Father, the misunderstanding of his affairs, the fear of punishment was made by Alexey wary and secretive. But he had other features of the character, which wrote another historian M.P. Pogodin: "In sincere, sincere letters to friends, he is as in fact, without sticks and stretches, - and it should be aware that all these documents speak more in his favor than to the detriment. It was a man of pious, of course, in his inquisitive, reasonable, calculating and kind, cheerful, hunter to try. " Nikolai Ge, according to him, sympathized with the unfortunate destiny of Tsarevich, when he wrote his picture.

None of the historical documents are mentioned that Peter I ever interrogated the Son one on one in Peterhof. Tsarevich's interrogations were in the official situation, and, of course, N. Ga knew about it. But he deliberately transfers the action to Peterhof and limits the circle of acting persons to more strengthen deep penetration into the life and psychology of the era. The artist put forward this meeting to the center of his picture, as she allowed him to focus all the attention on the main thing - on the tragedy in which there were two loved ones. In this decisive instant of the life of Tsarevich Alexey was still capable of passive resistance, he had not lost faith in the fact that the king Peter would not dare to cross the father's debt, would not dare to raise a public opinion against himself, condemning the legitimate heir to the throne, which Alexey continued himself consider. This unfulfilled, illusory hope and continues to feed its internal resistance. He was not a powerless victim, in his stubbornness, the solid reluctance to obey the will of the Father there is its own line of behavior, his courage, because he is not a pitiful coward (although sometimes he saw it exactly), and Peter's opponent.

It demanded from N. GE completely different forms and means of artistic expressiveness, generalizations - without petty, careful copying of nature. In MontPlazir, the artist was only once and later said that "intentionally once, so as not to break the impressions I made from there."

The picture was of great success at the first exhibition of the Mobile, held in November 1871. Russian Writer M.E. Saltykov-Shchedrin about the "secret evening" N. Ge said: "The external environment of the drama ended, but her instructive meaning for us did not end." According to the same principle, the artist built his picture about Tsar Peter and Tsarevich Alexei - the dispute is over, the voices of the voices, the explosions of the passions lay down, the answers were predetermined, and all - and the audience, and history - they know the continuation and outcome of the case. But the echo of this dispute continues to sound in the Peterhof room, and in the modern artist of Russia, and today. This is a dispute about the historical destinies of the country and the price that you have to pay for a person and humanity for the progressive movement of history.

When N. Ge has already completed work on the picture, P. M. Tretyakov came to his workshop and said he buys his canvas from the author. At the exhibition, the work of N. Ge, I liked the imperial family, and Alexander II asked to leave a picture of him. None of the emperor's sweets dared to report that the picture was already sold. Then, in search of the exit from the current situation, I turned to N. GE and asked him to transfer the picture to the king, and for P.M. Tretyakova Write a repetition. The artist replied that without consent P.M. Tretyakov will not do this, and Pavel Mikhailovich said that let N. Ge for the king write a repetition. So it happened. The picture after the exhibition was transferred to P.M. Tretyakov, and for Alexander II N. GE wrote a repetition that is now in the Russian Museum.

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"Peter I interrogates Tsarevich Alexei Petrovich in Peterhof" - a picture of the Russian painter Nicholas Ge (1831-1894), written in 1871. She is part of the meeting of the State Tretyakov Gallery

Ga was born in 1831. At the end of the Kiev gymnasium, he arrived first in Kiev, then at St. Petersburg University, but left him and entered the Academy of Arts, where he studied seven years. For the canvas "Atendorskaya Magician causes the Shadow Samuel" was awarded the gold medal and sent abroad, where he stayed from 1857 to 1863. Upon returning to Russia, the historical masterpiece "Last Supper", reflecting his longtime and deep interest in the history of Jesus Christ. For her followed the "Sunday Bully" and "Christ in the Garden Garden". Soon he leaves again in Italy. In 1867, a portrait image of A. I. Herzen was written in Florence.

In 1870, he is converted to Petersburg, where he creates three historical paintings: "Peter I interrogates Tsarevich Alexei Petrovich in Peterhof", "Ekaterina II in the coffin of Empress Elizabeth", "Pushkin in Mikhailovsky", portraits N.A. Nekrasova, I.S. Turgenev, M. E. Saltykova-Shchedrin. In 1875, Ga settled in the Chernihiv province, where he held various elected positions. In 19882, he became close to L. N. Tolstov, which, together with his own worldview, influenced the nature of his creativity. From 1884 he writes a number of works on religious plots, portrait L.N. Tolstoy, 10 drawings to his story "What people are alive."
In the second half of the XIX century, a number of progressive painters (except Ge-: Kramskaya, Polenov, Anticolish) appealed to evangelical plots in order to express the Duma and Chayania of their time through them. In the late works of the GE "Exit with the Last Supper" (1889), "What is the Truth?" ("Christ in front of the Pilate", 1890), "Crucifixion" sounds a passionate protest against evil, violence and hypocrisy. Ge was alive in transitional time. The main theme of his work is the topic of the suffering person, the drama - the collision of worldviews.
Ge is closer with mobile phone. In addition to the picturesque, his sculptural portrait images of V. G. Belinsky "L.N. Tolstoy.
Nikolai Gi died in 1894.
There are several full-length copyright reports "". One of them is located in the State Russian Museum (1872, canvas, oil, 134.5 x 173 cm, Inv. G-4142), where it came in 1897 from the Hermitage.

Peter I interrogates Tsarevich Alexei Petrovich in Peterhof (sketch, 1870, GTG)

Picture "Peter I Interrogates Tsarevich Alexey in Peterhof" on the postage in Russia of 2006

Creation period: 1878 Material, Technique: Photographic paper on cardboard, photo series, oil
Size: 40,5x50,4
Place of creation: -
Number in Goscatalog: 3567553
GIK number (KP): KP-16595
Inventory number: zh-338

One of them, dated 1874, is located in the Rybinsky State Historical and Architectural and Art Museum-Reserve (Canvas, Oil, 58.4? 74.3 cm, Inv. L-211). Other reduced repetition, also dated 1874, belongs to the collection of the Novgorod State Unified Museum-Reserve. Another reduced repetition, dated 1878, is located in a private collection in Kiev.

Information about the fact that Peter personally interrogated Alexey, no. The artist Nikolai Ge, although he studied the archives, came up with the scene in which the king and the applicant for the throne are shown, first of all, as the Father and Son. For contemporaries of the painter, the topic was sensitive - the rethinking of the plots of the past, the attitude towards history was humanized. Now in the Aleksey case, the focus was made on the personal relationship of a young man with his father, and about Peter said both a cruel, adamant man who brought the Son to the Fatherland. However, for the beginning of the XVIII century, the struggle for power was the usual matter, including the murder of relatives, even albeit children. Moreover, it was familiar to Peter, who by that time his hands were in the blood not that the elbow, but at the very shoulders.

Picture plot

In one of the rooms of the Palace Montplasir met and his son Alexey. Information that such a really occurred is not. Moreover, in 1718, when Tsarevich was returned from Europe, the building was still built. Ga focused on a psychological duel, by bypassing with reliability.

Even the sitting Peter produces an impression of an energetic, swinging. Alexey is like a melting candle. The fate of him is predetermined. The sharp corner of the table and the lightning lines of the floor are bred by heroes.

MONPLESIR. (Wikipedia.org)

The topic was chosen not by chance - the 200-year anniversary of Peter I was approaching. "Ten years, lived in Italy, had their own influence on me, and I returned from there with a perfect Italian, seeing everything in Russia in a new world. I felt in everything and everywhere the influence and trail of Petrovskoy reform. The feeling it was so strong that I was unwittingly fucked by Peter and, under the influence of this hobby, I conceived my picture "Peter I and Tsarevich Alexey," he wrote. But having studied the archives, immersed in the darkness of the turn of the 18th-XVIII centuries, the artist, impressed by the cruelty of the autocrat, changed the idea: "I inflicted the sympathy for Peter, said that he had a public interest had a feeling of her father, and it justified his cruelty, but killed the ideal. "

The picture was preparing specifically for the first exhibition of the Mobile in 1871. Pavel Tretyakov bought it before the exposure - immediately after saw the canvas in the workshop. At the exhibition, the picture made an impression on Alexander II, who wished to buy it - at the same time no one dared to inform the emperor that it was already sold. To resolve this problem, he asked to write a copyright for Tretyakov, and Original to give Alexander II.

Peter I interrogates Alexey Tsarevich in Peterhof. (Wikipedia.org)

Context

Peter was dissatisfied with his eldest son: no help from him in state affairs, the aspirations to raise the fatherland from his knees is not observed, and he also triggered into monks. The emperor was categorical - either correct, or stay without inheritance, that is, without power: "I know that I have a very inheritance of Lish Yako Gangar, and I don't have me that I am only in a faster I write to the truth, for My fatherland and people of his belly did not regret and do not regret, then how can I regret you indecently. "

Alexey went with the Austrians, fled to Italy and decided to wait for the death of his father there, to then climb the Russian throne with the support of Austrians. The latter was ready to support Tsarevich with the calculation of the intervention of the Russian territory.

Alexey Petrovich. (Wikipedia.org)

After a few months, Alexey was found. The Italians refused to give it to Russian messengers, but allowed a meeting, during which Tsarevich was transferred to Peter's letter. Father guaranteed his son forgiveness instead of return to Russia: "You will be afraid of you, then I enhanced you and I promise God and his court that I won't show you any punishment, but I'll show you the best love, if I listen to the will and come back. You can not learn from this, then ... Yako the sovereign is yours, I declare for the traitor and will not leave all the ways to you, I can give you a traitor and the cursor to the fathers, to teach it to me to help me in my truth. "

Alexey returned was deprived of the rights to the throne, forcing the abstrement to give an oath about the refusal of the throne. Immediately after the solemn ceremony in the Assumption Cathedral of the Kremlin, a consequence of Tsarevich's case began, although he was still forgiven for the condition of recognizing all the misdemeanors. Alexey was judged and sentenced to death as a traitor. After his death in the Petropavlovsk fortress (according to the official version, from impact, by the most likely, from torture), Peter said that Alexey, hearing the sentence, repented and soaked with the world, in Christian.

The fate of the author

Nikolai Ga was born in Voronezh in the family of the military, the descendant of the Frenchman-nobleman, who emigrated to Russia during the Great Revolution. Childhood Nikolai passed in the estate of the Father in Ukraine, and there the boy graduated from the gymnasium, after which he entered the university, going to become a mathematician. However, art was played by the picture: the picture of Karl Bryullov "Last Day Pompeii" was impressed by the young man so much that in St. Petersburg instead of occupations, Nikolai equations began to visit the evening classes of the Academy of Arts, where soon I was completely translated.

For one of his student works, he received the right of a pensioner trip abroad. The next 13 years he will spend in Italy, where will come from the perfect Western. Immediately after the return, the painter will become one of the initiators of the organization of the commendancy of the Movements, where it takes the treasurer, beating about mathematical education. Already after the first exhibition, I. N. Kramskaya wrote: "Ge reigns decisively. In all his picture, a stunning impression was made. " It was about the web "Peter I interrogating Tsarevich Alexey in Peterhof."

Nikolai GE while working on the painting "Crucifixion". (Wikipedia.org)

The following works of GE no longer caused such delights. Close in spirit, including Lion Tolstoy, supported the painter, and criticism, the public and buyers are not. Even such a progressive collector, as Pavel Tretyakov, was acquired to acquire the bands. The depressed and disappointed, the painter decides to leave the Singer Petersburg and rides the Ivanovsky Chernihiv province purchased to them.

"Four years of life in St. Petersburg and classes with art, the most sincere, led me to the fact that it is impossible to live. Everything that could make my material welfare, went against the fact that I was felt on the soul ... as I just love art as a spiritual lesson, then I should find a way independently of art. I went to the village. I thought that life was cheaper there, easier, I would go shopping and live, and art would be free ... "," explained his decision

He worked on the farm on the ground, helped the peasants, was a liver. Much talked with Lv Tolstoy, who supported his spiritual quest. In silence, he writes for gospel themes - the so-called "passionate cycle". And the last 10 years of life and gives the picture to the crucifixion of Christ. To create it, GE makes the simulators pose, chained to the cross. Even he himself, already an elderly person, is decided to experience this state.

Contemporaries did not understand his late work. For example, Alexander III, who loved and appreciated the early 7, looking at the "crucifix," said: "... We still understand it, but the people ... He will never appreciate it, it will never be understandable."

"Crucifix". (Wikipedia.org)

Immediately after the death of the artist in 1894, his children, fearing for the fate of the artistic heritage, crossed everything into a clear polar. Tolstoy promised them to convince Tretyakov to buy everything and put in the gallery. The collector pledged to prepare a separate placement and set the work of the GE, but this did not happen.