Now the feminist movement is on the rise again. For one reason or another, but mainly for political reasons, women began to actively regret that they were not men. There is no need to go into the wilds of politics. It is better to recall one mythological ladies' tribe, which somehow could do without men at all. Of course, these are the warlike ancient riders of the Amazon.
If you believe ancient Greek mythology Amazons (from Greek a - no, mazos - chest).
once lived along the banks of Meotida (Sea of ​​Azov) or along the banks of the river. Thermodont in Asia Minor.
But more about history and geography later. And let's start in a feminine way - with clothes, but not the ancient one that might not have existed at all, but about the one that was customary for ladies on horseback rides, and which also received the name of the Amazon, just like the ladies themselves involved in very spectacular equestrian sport.

Hounsom Byles. Joie de vivre. (Joy of life)."

I love Matilda when the Amazon
She will reign over the ladies' saddle,
And pulls the reins with a stubborn hand,
And acts violently shrill whip.
Proud of the mustache beautiful and dense,
Scattering fire from frisky eyes,
She is the master of the stately animal,
And the furious horse is subdued to the maiden, -
Grinds against steel with a crushing tooth,
And the milky foam curls into a club,
And the neck is spinning in a stubborn ring.
Handsome! - under the maiden he tramples, dances,
And he shakes his muzzle, waves his mane,
And legs, as reluctantly, throws then,
And sparingly goes whimsical trot,
And in frisky jumps on a soft saddle,
Heartily pleased with the shaking heights,
The rider in the dusty haze is drawn:
A smile sparkles on crimson lips,
And the leg - the baby all dug into the stirrup;
Matilda raises the runner at a gallop
And it wobbles, cunningly avoiding it,
And is worn by a whirlwind until fatigue
Fog will cast over bright eyes ...
Matilda jumped off - and in sweet excitement
Throws violently on a lush sofa.
(V. Benediktov, 1836)

Amazon in the forest by Alfred de Dreux, c.1855

Where and how else could a young woman or girl show herself in the most favorable light, emphasizing all her virtues? On horseback or horse hunting! So she could demonstrate not only her beauty, but also dexterity, strength, excellent health.
The ability to stay in the saddle has always aroused admiration and attracted attention from the stronger sex. Oh, how good the rider is, how graceful her posture is and how romantic the veil of her hat, which develops at a gallop.

Marie Antoinette riding at Versailles by Brun de Versoix, 1783-85

The sight of a woman in a saddle in a beautiful long dress was romantic and charming, however, this beauty could be very dangerous, because in such an outfit it was easy to get caught on a tree branch and get injured when falling from a horse.

Equestrian portrait of Marie Louise of Orleans, Queen of Spain Francisco Rizi, 1679

Queen Victoria on horseback Francis Grant, 1845

Initially, both men and women rode in what is called the “male” seat.
The passion for horseback riding gave rise to a new style of dress, adjusted by etiquette and ... a saddle.

Empress Elizaveta Petrovna hunting, V. A. Serov

Madame St. Baslemont by Claude Deruet, 1630s

Over time, sitting on a horse "like a man" was out of the question, this is extremely vulgar and unacceptable. The ladies' saddle provides for a side seat with the rider's legs on one side of the horse.
Ladies' saddles were invented with an overestimated pommel (for which a woman threw her right leg) and one left stirrup.

The lady could sit in the saddle only with male help, while a fall from the saddle guaranteed her either death or severe injuries: as a rule, the unfortunate leg remained in the stirrup, and the horse dragged the woman behind him. Naturally, women preferred to ride at a walk: for a gallop or even a trot, one had to have circus dexterity.

What does it mean? That a woman could go anywhere only and exclusively accompanied by a man. Driving a horse “like a man” and “like a lady” has serious differences, so a woman, accustomed to riding a lady from her youth, in a critical situation could not jump into the saddle like a man, and thereby ensure freedom of movement.

Drummond Family by Johan Zoffany, c. 1769

Thus, the saddle was a tool that made it possible to keep a woman in submission and dependence on a man. Not to mention how many women it killed or mercilessly maimed, but who thought about it ...

Coco Chanel in the side landing)))

The lady's seat should demonstrate the beauty and grace not only of the lady herself, but also of her riding costume.

Amazon - ladies' riding costume.

Empress Eugenie Charles Edouard Boutibonne 1857

In the sixteenth century, the costumes of horsewomen differed little from their everyday dresses. The Amazon as a special dress began to develop at the beginning of the 17th century, when Catherine de Medici was the first of the high-ranking women not only to be present at the hunt, but also to participate in the persecution. It was thanks to her that a second bow appeared at the saddle.

Catherine de Medici is considered the first woman to put on an Amazon - who better than the queen to introduce fashion for all sorts of innovations?

L "Air or Autumn by Claude Deruet, 1630s.

For riding, a special costume was supposed - an Amazon, which consisted of a fitted jacket (bodice) with long sleeves and a blank collar, a long wide skirt (sometimes with a train), a hat with a veil, gloves and a whip.

The Countess of Coningsby in a Charlton Hunt costume by George Stubbs c.1760

If a horse ride provided for a calm ride, then an ordinary Amazon was not enough for hunting. Therefore, the costume was complemented by the first trousers for ladies - they were quite lush and worn under a skirt.

Horsewoman José Campeche, 1785

The Amazon for hunting and the Amazon for walking were somewhat different. The walking costume was supposed to draw attention to the beauty and grace of the rider, and the hunting Amazon was more practical and emphasized the dexterity of the rider. The Amazon for riding could be a cambric dress with a wide skirt, complemented by a fitted bodice and a top hat with a long veil. For the hunting option, practical cloth was provided.

Bryullov Karl Pavlovich-Portrait of Eugene and Emilie Mussar (Riders)

The fabric for the Amazon was velvet, cloth, thick silk. In the 2nd floor. 19th century preferred very dark colors, most often black.

The historical Amazon (from the era of Catherine de Medici to the modern era) consists of the following mandatory parts.

French fashion magazine

Corset
Mandatory. By the way, why a corset? The corset is the silhouette, and the silhouette provided beauty for the female figure in the saddle. In the Empire era, there could be a soft corset. The corset could be softer than the ball corset, but it was and corresponded to its era.

bodice
Mostly separate from the skirt. Definitely without a neckline, usually with a collar, with a long sleeve so that God forbid, do not damage the skin of the hands and neckline in the open air.

The first. Variations on the theme of a daytime closed dress of the corresponding era

Second option. A men's suit of that time converted into a women's pattern. The tails were somewhat shorter than on men's suits.

Skirt
Wide and often with a long train.
Long and puffy skirts were as beautiful as they were dangerous. Caught on a branch, the Amazon could be severely injured when falling.

Trousers
Fitted pants with a high waist.
Fashion did not stand still, soon under the skirt of the rider, instead of pantaloons, there were breeches, and the skirt itself lost its splendor and length.

Hat
Usually characteristically masculine: musketeer, cocked hat, top hat, bowler hat, boater, etc.
To the Amazon they put on a hard hat with fields or a toque. Feathers, veils, scarves served as decorations.
Necessarily decorated with a veil, which beautifully developed in the wind.

Gloves
Required.

Letitia, Lady Lade on Horseback by George Stubbs, 1793

In the 1870s, the ability to wear an amazon became especially important, because according to fashion, the skirt was very narrow and a cut was required that made it possible to be in a side saddle. To do this, on the side on which the rider was placed in the saddle, an overlap was made, stretching with the knee, and on the opposite side, a train of increased length, when the lady dismounted, she had to be able to quickly and gracefully pick up the train and secure the excessive width of the skirt above the knee.

With the turn of fashion in the second half of the 19th century in the direction of narrower skirts, the Amazon also became "bridled". The ability to wear an Amazon has become a real art. For the convenience of riding, the cut of the fashionable narrow skirt was changed: on the right side, a fabric overlay was provided, stretching when landing with the knee, and on the left, an elongated train was cut out covering the legs. Dismounting from the horse (dismounting), the rider had to gracefully pick up the train and fasten it above the knee with a special clasp. However, as in the wide Amazon, the narrow lady needed help getting on the horse, why not test female charms and a little flirting?

Name of the painting: "Horsewoman"
Picture painted: 1832
Canvas, oil.
Size: 291 × 206 cm

Description of the painting "Horsewoman" K. Bryullov

Artist: Karl Pavlovich Bryullov (Bryulov)
Name of the painting: "Horsewoman"
Picture painted: 1832
Canvas, oil.
Size: 291 × 206 cm

O Russian artist Quite a lot has already been said to K. Bryullov. He was the author of outstanding paintings, and today they occupy a worthy place in the list of world masterpieces and museum expositions. One of them is "Rider".

The history of writing the canvas is attractive and unusual. As you know, the painter lived in Italy for a long time, but just before leaving this romantic country, he commissioned Countess Y. Samoylova to paint a portrait of her adopted daughters, Giovannina and Amazilia Pacchini, the daughters of the same composer who created the opera The Last Day of Pompeii, which inspired the artist for a monumental canvas in the future. But before that, a portrait of two pupils of a Russian aristocrat appeared in a secluded villa near Milan. The work was called "Jovanin on a horse", but for everyone she became a "Horsewoman".

The image of Jovanina on a horse was revolutionary, because earlier only generals, emperors and kings were depicted this way, and not ordinary citizens.

A horsewoman stands out on the canvas, which stops the horse at full gallop. She controls it confidently, causing genuine delight in the little girl near the balcony. Two dogs, barking at a rearing horse, are also interested in what is happening, which, by inertia, also indulges in nature - tree trunks tilted from the wind that ran through them, and clouds rush across the sky. The rays of the evening sun make their way to the earth spontaneously and restlessly.

The value of this painting is not only in the innovative approach to depicting people, but also in the fact that Bryullov modernized formal portrait. If you look closely at the outline of the silhouette of the horse and Jovanina sitting on it, then it resembles a triangle. It is noteworthy that earlier this technique was used by Titian, Velasquez, Rubens and Van Dyck. Bryullov interprets this compositional technique quite unusual - he introduces the image of a child into the picture. Little Amalicia, hearing the clatter, ran out onto the balcony and held out her hand, trying to catch the movement of the horse. Her wide eyes and slightly parted mouth express surprise and delight. At the same time, she worries about how fast her sister is galloping with a majestically haughty, almost marble face, filled with some kind of extraterrestrial renunciation. The girl successfully creates balance and gives the canvas realism, spontaneity and as if breathes life into it.

Look at shaggy dog at the feet of Jovanina's horse. It makes the space in the picture voluminous, as if it exists not only behind, but also around the figures.

The canvas is dynamic, and anyone who has ever seen it in the Tretyakov Gallery will certainly have the feeling that this is not a painting, but a photo that only for a second stopped the frantic pace of life. The black horse shines after a walk, he still beats with his hoof, because he cannot tune in to calmness after running, and the dog, conveying the atmosphere of a rich house of those times, gleams with a nominal collar and joyfully meets the rider. Amacilia in a touching dress, like all children of her age, is lively and nimble. She couldn't sit still when she heard her older sister coming back. The girl's huge eyes express not only physical dynamism, but also emotional dynamism - adoration, devotion and slight envy for her older sister, whom she wants to be like so much that even their hair is curled the same way.

The Horsewoman simply breathes life, she becomes the messenger of all earthly joys - the picture is so direct. There is everything here: the lively images of the characters, the boldness of the compositional solution, the grandeur of the pre-stormy sky, and the variety of shades of the palette.

Moreover, the latter is filled with rather bold color schemes, which are not only incompatible at first glance, but also uncharacteristic of Bryullov. On the canvas, the pink, almost powdery, color of Amacilia's dress, the black, even velvety color of the horse, and the airy white, with a slight blueness, dress of the horsewoman are quite risky. At first glance, the combination of red-pink, black-blue and crystal white shades is quite difficult to perceive. This is the peculiarity of Bryullov's style of writing - the use of not close, but contrasting color schemes, the most difficult in the skill of the artist. Note that the tones of the painting are not overdriven, which enhances their sound. The tonal harmony of the canvas is so calm and concise that there are no carelessness or inaccuracies in the portrait. It is not for nothing that fashion historians of that time call Giovanina the “cover girl” of a fashion magazine. Fashion trends of the early 19th century can be traced in her clothes - an aristocrat sits in a ladies' saddle, her Amazon is light blue, befitting unmarried young ladies, tightly buttoned with all buttons, with puffed sleeves. The horsewoman put on gloves on her hands - both for the reason not to injure her delicate aristocratic hands, and because etiquette forbade showing them in society. Walking hats were popular in the 19th century. Jovanina was no exception: her headdress dark green with developing ribbons.

Amacilia is not dressed so conservatively - she is wearing a powdery pink dress with open hands, lace knickers and green shoes. We see the fashion trends of the century before last in her hairstyle - in those days, the children of aristocrats were supposed to do a perm.

The painting "Horsewoman" was first exhibited in Rome (1832). Portrait of a girl painted in life size, caused, if not a stir, then the gossip of critics around him. Some noted the skill of the artist, calling the girl on horseback a "flying angel" and admired Bryullov's ability to convey the play of light. Other art connoisseurs from Italy said that the horsewoman's face was lifeless, and therefore she did not notice the movement of the horse. Bryullov himself refuted all these arguments, speaking about the main task of art - the image of life.

Nevertheless, his skill as an artist and the unprecedented scale of the portrait captivated the public so much that he was awarded the title of genius and stood on a par with Rubens and Van Dyck, and the painting itself is rightfully called one of the most famous examples of art of the 19th century.

Publications in the Traditions section

Russian Amazons

About the image of the fearless Amazons left a mark in the history of fashion: this is how women's costumes for riding were called. The first ensembles appeared in the second half of the 17th century. We recall how Russian ladies began to wear jackets and camisoles, what cut skirts were sewn for riding, and what little things a rider needed for an impeccable look.

Camisole, frock coat and Amazon

Georg Christoph Groot. Grand Duchess Ekaterina Alekseevna in a hunting suit. 1740s. Nizhny Novgorod State Art Museum, Nizhny Novgorod

Karl Bryullov. Empress Alexandra Feodorovna and her daughter Maria Nikolaevna for a walk in Peterhof. 1837. State Russian Museum, St. Petersburg

On the one hand, a riding suit had to be in line with fashion, on the other hand, it had to be functional and comfortable. Women found a way out: they began to borrow elements of men's costume: caftans, camisoles and cocked hats. Kaftan - knee-length clothing, strongly fitted, with long sleeves and wide cuffs with cuffs. Camisole - similar cut, but usually sleeveless. True, instead of short men's pants, women wore long puffy skirts. The collection of the Armory contains a masquerade costume of Catherine I of the 1720s. These were often worn on horseback rides. It gives an idea of ​​what a rider might have looked like: a caftan and skirt of blue velvet, a white silk coat with colorful embroidery, a hat with ostrich feathers and gloves.

In the 1780s, coats came into fashion. In Russia they were called "coats" or "sertuks". The name itself comes from the English riding coat- riding suit Redingots, similar to dresses or long jackets, were sewn in a strict "masculine" style - with lapels and cuffs, without embroidery and lush trim. As in the rest of Europe, our redingots have entered into everyday life. They were worn not only for riding, but also for hiking and visiting. At the Russian court, they even played the role of semi-holiday outfits.

Catherine the Great introduced such a form of clothing as a uniform dress. Starting from her reign and until 1917, the women of the imperial family took patronage over military units. On days of regimental holidays, they wore special dresses reminiscent of military uniform, - in the color of the form of the sponsored regiment. These ladies' uniforms were sewn on the principle of riding suits.

At the turn of the XVIII-XIX centuries women's fashion changed a lot. Tight corsets and puffy skirts temporarily disappeared from wardrobes. A long, high-waisted coat over a light dress - so simple and comfortable was clothing for horseback riding at the beginning of the century. However, later the ladies returned to the silhouette " thin waist- fluffy skirt". By the middle of the century, an Amazon costume had formed - a complex ensemble with many details. Its main element was a wide skirt of a special cut.

Speaking of the Amazons, it is impossible not to mention the Amazon Company. It was brought together by Prince Potemkin to solemnly welcome Catherine II during her trip to Tauris in the spring of 1787. The detachment consisted of 100 "Amazons" - the wives and daughters of the Balaklava Greeks. According to the memoirs of their "leader" - Elena Sardanova - the ladies were dressed “in crimson velvet yupka trimmed with gold lace and gold fringe, green velvet jackets trimmed with gold lace; but on their heads are turbans of white mist, embroidered with gold and sequins, with white ostrich feathers.. Red and green were the colors of the Preobrazhensky Regiment.

What the Amazon looked like depended on fashion trends and purpose of the trip. For walks in nature, they put on simpler suits, for going to summer garden Petersburg or in Petrovsky Park in Moscow - elegant outfits, hunting - a more strict option. Fashionistas gradually abandoned luxurious velvet and silk in favor of more practical and wear-resistant ones - cloth and wool. If in the first half of the century the colors of riding suits were still bright, then in the second half of the century the colors darkened. Ladies preferred black, navy blue, grey, green, brown shades; light colors were allowed in summer.

Saddle length jacket and knee skirt

Usually the jacket was not sewn long: up to the skirt or to the saddle. More long models they were distinguished by a special complex cut, because they had to not wrinkle or wrinkle when driving. At the back, the jacket was connected to the skirt with the help of hooks and loops: this way, during the ride, the skirt did not move and the blouse did not get out from under it. The rider had to look perfect! In the cold season, a raincoat or coat in the same style was worn over the jacket.

Skirts were sewn taking into account riding sideways, in a side saddle, with two bows and a stirrup on the left side. Therefore, the right side of the skirt was longer than the left - it covered the legs and fell even lower. Even in the 1830s, when ladies wore dresses that showed off their ankles, Amazons had to hide their legs completely. Of course, riding in such a long skirt was dangerous. However, often the robes hung down to the ground. Only towards the very end of the 19th century, the toes of shoes finally appeared from under them.

Usually skirts were made from a denser material than jackets. Weighting agents, such as sand or hunting shot, were sewn into the hem, and on the inside, special loops into which the rider passed her legs. This ensured that the skirt would not ride up. The Amazon was often worn while hiking. It was inconvenient to hold a heavy long skirt with my hand. Therefore, it was picked up higher and secured with buttons, loops and "pages" - special clips that were attached to the belts.

Over the years, the cut of skirts has changed. The oldest and simplest is the closed "regular" one. She is also the most insecure a large number cloth in which one could get entangled when falling or jumping from a horse. In the 1880s, a new variety appeared - the "knee" skirt: this cut made it possible to reduce the amount of fabric and preserve the silhouette. A half-open skirt was sewn with a cutout under the right knee. And the most comfortable and at the same time the most daring from the point of view of public morality was the apron skirt, which appeared in the last thirds of XIX century. Sewn from one or two panels of fabric, it looked traditional when the lady was sitting on horseback. However, it was actually an apron that opened the legs at the back. Such a garment was worn with an elongated jacket and breeches or pantaloons.

However, pants were also worn under regular skirts. They were indispensable when, in the 1870s, ladies began to abandon petticoats. The pantaloons under the Amazon were worn longer, with hairpins at the bottom to keep them in place. The tight-fitting breeches went slightly past the knee. Both were usually sewn from the same fabric, or at least the same color as the Amazon itself.

Riding Suit Accessories

Vladimir Gau. Grand Duchess Ekaterina Mikhailovna. 1847. State Tretyakov Gallery, Moscow

Magazine "Fashion Light". No. 11. 1886

The riding suit was a complex ensemble of many pieces of clothing and accessories. It was a real rider outfit - absolutely everything was thought out in the outfit. Suede or leather gloves, an elegant whip with a curly handle, detachable collars and cuffs, handkerchiefs and ties, cufflinks and pocket watches...

Boots were usually worn with the Amazon - high or shortened. For an informal trip, you could wear high boots with gaiters or leggings. Patent leather was a popular shoe material. Until the 1880s, boots were worn in the same color as the skirt. Both boots and boots were worn exclusively in combination with long trousers. There were also spurs on ladies' shoes, but the wheels were made smooth so as not to tear the skirt.

Under the riding suit, the riders wore the usual underwear: a shirt, a corset, petticoats. In an era when a thin waist was one of the main details female beauty, for riding, the ladies still tried not to pull too tight. Toward the end of the century, lightweight sports corsets, lighter and more flexible, came into use. Under the jackets they put on either a blouse, or a small chemiset insert - according to the principle of a shirt-front; the ensemble could also include a vest.

Hair was kept in a simple, smooth hairstyle so that it would not be disheveled when driving. The choice of headgear depended on fashion and circumstances. It could be a wide-brimmed straw hat or a felt hat. One of the most elegant options was a black silk top hat like a man's. The decoration of straw and felt hats has always been restrained. For example, grosgrain ribbons, feathers or long, waist-length scarves that flutter spectacularly when driving fast. The headdress was fixed - first with a braid, and later with an elastic band. This made it possible not to hold it with your hand. And to protect the face from dust and the sun, veils were attached to the hats.

Such and other, no less flattering, reviews appeared in Italian newspapers in 1832. The interest and admiration of art lovers was aroused by the painting “Horsewoman. Portrait of Amazilia and Giovanina Pacini, pupils of Countess Yu. P. Samoilova.

Now the canvas is stored in the State Tretyakov Gallery and still gathers spectators in front of him. In the artist's idea, the majesty of the front portrait and simplicity, poetic spirituality of the lively, direct characters of the two heroines happily combined.

Few know the history of creation and the fate of the work. The Horsewoman was written in 1832 when Karl Pavlovich Bryullov was living in Milan, northern Italy. Close friend artist, a wealthy aristocrat Yulia Samoilova ordered a portrait of her pupils from the young master. They were the daughter and young relative of the deceased composer Giuseppe Pacini. The same Pacini, whose opera "The Last Day of Pompeii" prompted Bryullov to the theme of the famous painting in the future. The painter painted two sisters in a villa near Milan.

In the center of the picture, Giovannina Pacini is depicted on a hot horse. The horse is excited, but the rider sits straight and proud, self-confident. To the left of the young Amazon is a balcony, onto which her younger sister ran out, in the depths a shady park.

The general silhouette of the rider and the horse forms a kind of triangle a stable, long-time favorite form of building a ceremonial portrait. This is how many compositions Titian, Velazquez, Rubens, Van Dyck solved. Under the brush of Bryullov, the old compositional scheme is interpreted in a new way. The artist introduces the figure of a child into the picture. The little girl, hearing the stomp of the horse, ran swiftly out onto the balcony and extended her hand through the bars. Both delight and fear for the rider express her face. A note of lively, direct feeling moderates the cold majesty of the portrait, gives it immediacy and humanity.

The shaggy dog ​​depicted on the canvas helps to create the impression that in the picture space unfolds not only in depth, but also exists in front of the characters.

The painting was exhibited in Milan, and then Yu. P. Samoilova's guests could see it among other works of art. In 1838, the famous Russian poet and translator V. A. Zhukovsky admired the portrait.

In the future, traces of the canvas are lost for a long time. Yu. P. Samoilova became impoverished, moved from Italy to Paris and took with her a portrait of the pupils. She broke up with him at the very end of her life, in 1875. Repin, while in the summer of 1874 in Paris, wrote to P. M. Tretyakov that "some Countess Samoilova here sells several things of K. P. Bryullov ...". But he did not have time to buy a painting.

For the second time, the work came to the attention of Russian art collectors in late XIX century. A French art dealer exhibited The Horsewoman, or the Amazon, as she was also called, at the Academy of Arts in St. Petersburg. In 1893 P. M. Tretyakov purchased it for his famous collection of Russian paintings. Since then, the "Horsewoman" has been decorating the halls of the gallery.

Today, looking at this work, you understand how right the Italian art connoisseur was who called the young Karl Bryullov brilliant artist just for this one portrait. The master boldly combines the pink dress of the girl, the velvety black color of the horse's coat and the white robe of the rider. Bryullov gives a complex harmony of pink-red, bluish-black and white shades. The painter, as it were, deliberately chooses not close, but contrasting, especially complex in painting, combinations. But each tone is masterfully designed by the master, in many subtle gradations. The painting layer is nowhere overloaded, and this enhances the sound of paint on light ground. Bryullov achieved a special tonal harmony here. There are no careless, sluggishly written places in the portrait.

When The Horsewoman was created, Karl Bryullov was thirty-three years old. Ahead was the triumph of "Pompeii", series famous portraits contemporaries, friendship with Pushkin, Glinka. There was a whole life ahead...

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At least in order to see with my own eyes the paintings “Girl with Peaches”, “Rooks Have Arrived”, “The Appearance of Christ to the People”, “Morning in pine forest"and many other works of Russian visual arts, familiar even to all people far from painting from candy wrappers and Internet memes.

website dug into the collection art museum and chose 10 paintings with interesting history. We hope they will inspire you to visit the Tretyakov Gallery.

"The Apotheosis of War" Vasily Vereshchagin

The picture was painted in 1871 under the impression of military operations in Turkestan, which struck eyewitnesses with their cruelty. Initially, the canvas was called "The Triumph of Tamerlane", whose troops left behind such pyramids of skulls. According to history, once the women of Baghdad and Damascus turned to Tamerlane, who complained about their husbands, mired in sins and depravity. Then the cruel commander ordered each soldier from his 200,000-strong army to bring a severed head of lecherous husbands. After the order was executed, 7 pyramids of heads were laid out.

"Unequal Marriage" Vasily Pukirev

The painting depicts the wedding process in Orthodox Church. A young dowry bride marries an old official against her will. According to one version, in the picture - love drama the artist himself. The prototype in the image of the bride depicts the failed bride of Vasily Pukirev. And in the image of the best man, depicted at the edge of the picture behind the bride, with his hands folded on his chest, is the artist himself.

"Boyar Morozova" Vasily Surikov

Giant in size (304 by 586 cm) painting by Vasily Surikov depicts a scene from history church schism in the 17th century. The painting is dedicated to Morozova Theodosia Prokopievna - an associate of the spiritual leader of the supporters of the old faith, Archpriest Avvakum. Around 1670, she secretly took the veil as a nun, was arrested in 1671, and in 1673 sent to the Pafnutev-Borovsky Monastery, where she was starved to death in an earthen prison.

The painting depicts an episode when the noblewoman Morozova is being transported around Moscow to the place of imprisonment. Next to Morozova is her sister Evdokia Urusova, who shared the fate of a schismatic; in the depths - a wanderer, in whose face the features of the artist are read.

"They didn't expect" Ilya Repin

The second picture, painted in 1884-1888, depicts the moment of the unexpected return home of a political exile. The boy and the woman at the piano (apparently his wife) are happy, the girl looks wary, the maid is incredulous, in the hunched figure of the mother in the foreground one feels a deep emotional shock.

Currently, both paintings are part of the collection of the Tretyakov Gallery.

"Trinity" Andrey Rublev

The Tretyakov Gallery has the richest collection of ancient Russian art of the 11th-17th centuries, including works by Dionysius, Simon Ushakov and Andrei Rublev. In the 60th hall of the gallery hangs one of the most famous and famous icons in the world - "Trinity", painted by Andrei Rublev in the first quarter of the 15th century. Three angels gathered around the table on which the sacrificial bowl stands for a quiet, unhurried conversation.

The "Trinity" is stored in the hall of ancient Russian painting of the Tretyakov Gallery, in a special glass case, which maintains constant humidity and temperature, and which protects the icon from any external influences.

"Unknown" Ivan Kramskoy

The place of action of the picture is beyond doubt - this is Nevsky Prospekt in St. Petersburg, Anichkov Bridge. But the image of a woman is still a mystery of the artist. Neither in the letters nor in the diaries did Kramskoy leave any mention of the unknown person. Critics connected this image with Anna Karenina of Leo Tolstoy, with Nastasya Filippovna of Fyodor Dostoevsky, the names of famous ladies of the world were called. There is also a version that the painting depicts the artist's daughter, Sofia Ivanovna Kramskaya.

AT Soviet time"Unknown" Kramskoy became almost Russian Sistine Madonna- ideal unearthly beauty and spirituality. And hung in every decent Soviet house.

"Bogatyrs" Viktor Vasnetsov

Vasnetsov painted this picture for almost twenty years. On April 23, 1898, it was completed and soon bought by P. M. Tretyakov for his gallery.

In epics, Dobrynya is always young, like Alyosha, but for some reason Vasnetsov portrayed him mature man with a luxurious beard. Some researchers believe that Dobrynya's facial features resemble the artist himself. The prototype for Ilya Muromets was the peasant of the Vladimir province Ivan Petrov, whom Vasnetsov had previously captured in one of the studies.

By the way, Ilya Muromets is not fairy tale character, a historical person. The history of his life and feats of arms is real events. Having grown old and finished his labors in protecting the homeland, he became a monk of the Kiev-Pechersk Monastery, where he died in 1188.

"Bathing the Red Horse" Kuzma Petrov-Vodkin

The painting “Bathing the Red Horse”, which amazed contemporaries with its monumentality and fatefulness, brought the artist Kuzma Petrov-Vodkin world fame. The red horse acts as the Destiny of Russia, which the fragile and young rider is unable to hold. According to another version, the Red Horse is Russia itself. In this case, it is impossible not to note the visionary gift of the artist, who symbolically predicted the “red” fate of Russia in the 20th century with his painting.

The horse Petrov-Vodkin wrote from a real stallion named Boy. To create the image of a teenager sitting on a horse, the artist used the features of his student, the artist Sergei Kalmykov: “For the attention of the future compilers of my monograph. On a red horse, our dearest Kuzma Sergeevich portrayed me. ... In the form of a languid young man on this banner, I am depicted in my own person.

"The Swan Princess" Mikhail Vrubel

The painting was painted in 1900 on the basis of the stage image of the heroine of the opera by N. A. Rimsky-Korsakov "The Tale of Tsar Saltan" according to the plot fairy tale of the same name A. S. Pushkin. Vrubel designed this performance, and the part of the Swan Princess was performed by the artist's wife, Nadezhda Zabela-Vrubel. “All the singers sing like birds, and Nadia - like a person!” Vrubel spoke about her.