in generally studied situations, find someone who will support you, a partner, a friend, a girlfriend, a sister, a brother, a husband, a mother, who suffers from the same addiction, because it will be easier for two or three of you, do this kind of self-reflection every week , how did it work, and in order to understand, even if just a little, but i have progressed, how do you like such advice, well, excellent advice. you need to start with this, yes, this is all that you need to integrate into your life in order to come to that very stage, about which we just said so beautifully, well , will your life change tomorrow morning? well, i wanted to say, i hope, but i just have a feeling that i’m sure that yes, oh, but it’s possible without, i have a feeling, just shorten the route, i’m sure that it will change, because it’s just happened to me. the knowledge

that yes, it turns out, it’s not difficult, and most importantly, we finally, well, i, first of all, felt out why i need this, yes, that’s where we actually started our dialogue with you , from what and for what, is it necessary in general, i think this is necessary, i have one question, it seems to me that it will be very appropriate, marin, how could you answer, what will i do right today to confirm my intentions? i answered this question to myself just a few minutes ago, and i was already thinking that i ’m going home today, to the hotel, and usually when i go, i do this, and today i realized that i have my big bag that i arrived with, i’ll put my phone number in there, get into a taxi and drive like this, great plan, friends, and i wish all of us, let's at least start with this, that today, when or tomorrow morning... when we get ready

for work or maybe during the day, well, in general, on the next trip we will hide the phone at the very the bottom of our bags or in the most secret pocket, jacket or jacket, let's try to live for a few minutes first of withdrawal, and then i am confidently enjoying the fact that life is not passing by, definitely not on the phone. it was a psychic podcast. hello, you are watching precious stories. my name is ekaterina varkan visiting today we have natalya polenova, the great-granddaughter of the great russian artist vasily dmitrievvich polenov, director of the polenov reserve museum. and today we will talk about this wonderful place, i can’t even imagine how vast it all is. and we

can put in such a small amount of time that we have allotted today in our podcast, this is how it all began, my favorite story, natasha, you know, yes, how vasily dmikovich polenov and his friend , student konstantin korovin, rode on boat along the oka, being in a cheerful, cheerful, witty mood, sailed past the hill, and polenov liked the hill so much that he said that he would like to put it here. estate and live, so to speak, in old age, admire the surroundings, initially, this is the most important thing that, in fact, vasil dmitovich invested in this whole grandiose construction project, in addition to building a house for convenient, comfortable housing, a large family in beautiful place, the idea of ​​enlightenment was laid down, well, the museum itself was there, then it was organized theater, schools, please tell me about these ideas of his besides the museum, but everything is true.

from the very beginning he didn’t really want to live in moscow, he grew up, as you probably know, in karelia, near petrozavodsk, from early childhood he was attracted to nature, he was attracted to coniferous forests, and he really really loved these pine trees, coniferous forests , and he really wanted to live somewhere far from the big city, but to his main idea of ​​enlightenment in...

tarusa played in these places, because she had already settled in tarusa the family of ivan vladimir tsvitaev, tarusa was already becoming some kind of epicenter of creative life, we also call it the russian barbeson, and vasily dmitovich, once there, of course, wanted to be somewhere nearby, so he saw bekhov, this idea captured him, he said to his wife about how good it is there, and his wife natalya vasilievna also writes in letters that it’s really a dream to stay in bekhov. settling in bekhovo, living in bekhovo will come true for us, they already had in mind their house, their workshop, natalya vasilievna’s small office, that is, all this a dream, they had it somehow formed, all that remained was to buy land, and after looking at

the estate of the bankrupt landowner soblukova in bekhovo, vasily dmich gathered the funds, but you are correct in saying that this coincided with the sale of a large canvas, who of you without sin or? christ and the sinner is now in the russian museum in st. petersburg, the former imperial collection, indeed, even before the opening day, the imperial family came to inspect the exhibition of the wanderers, and alexander ii became interested in this painting and i agreed to buy this canvas, as they say, even for my billiard room, after vasil dmich made such a very profitable deal for himself. 3000 rubles, but with silver, that is, not just 30,000 rubles. 30,000 rub. in silver, this was a sufficiently lucrative sum for vasily dmich to be able to make this purchase of his entire life, buy this in the name of the bankrupt landowner soblukovy, where there was

a small temporary outbuilding where the family moved and settled, but they were attracted precisely the neighboring hill, the neighboring hill belonged at that moment to the peasant community and...

he became a relative, since they were married to cousins, so his idea was, of course, not just to build a dacha for himself, but for it to be a dacha with meaning, that is, so that his followers, students, his close friends could come there, arrange

fireplace evenings, creative, literary evenings there, they could gather, as a result of this kind of... conciliarity , some new creative idea or some kind of artistic work could be born direction, why no, because we understand that polenov is still a representative of the school of realism, and his students are already modern, and mikhail vasilyevich nesterov and viktor mikhailovich vasnetsov and so on, so this is probably the transition from the academic school of realism to school of modernism, he probably did this. in such artistic nests as polenova and abramtseva, of course, as now, probably, there is such a fashionable word that influencers say, well, probably, vasily dmikovich polenov, in his way, at that moment became like this, as an opinion leader for the local community, and

this is very important, because this, it seems to me, was the key to preserving the estate , saving it, the peasants who came to you... to the sword, he led, he hosted them, he led them excursions around his house, he was the first tour guide in his own house, he created his own exhibition, showed it, told it. but the collection of the valen house, it is, in general, well, originally a private collection, collected by four generations before him, this is , of course, his father, this is, of course, his grandfathers, his uncle, in general, all the relatives, right up to gabriel romanovich derzhavin, who is about the grandmother who started it all, who, as a child, took her grandchildren to the tambov village, and many, by the way, paintings.

what an appearance she has, on the other hand, a kind, sweet grandmother for her grandchildren, she was their real grandmother, it was she who remained a widow at 33 with three children, her husband, a hero of the 12th war, general alexey vasilyevich vaeikov, died of received wounds, he participated in suvorov’s crossing of the alps in the battle of borodino and so on, he didn’t... she got up, she remained at the age of 33, a widow with three children , she devoted her entire life until she was 80 to preserving the memory of her

husband and raising first her children and then her grandchildren. the appearance of such a child in my life was a complete surprise, our tandem is such a small but strong family. let’s formulate a request with you: we have a good room, or maybe... it’s better, they came up with the idea of ​​​​making a rack here, dad and son leave at 11 or together from the room, op complex, even just hanging, very good for the back, in this corner contains everything for cozy evenings, this is vinyl, this is a cinema hall, and we got to our home, about comfort, the premiere is on saturday on the first. lately, we are increasingly hearing the phrase global majority, who

is included in it, what countries it consists of, and most importantly, who governs these states. we met in the palace of the president of syria, the man who challenged the collective west. our war is a war for existence, which is why the price is so high. the west now supports and promotes leaders like zelensky. these are the people who say to everything: yes, right, left. up, down, to everything, answering, yes, boss, and my father never discussed my future with me, i believe that everyone decides such questions for themselves: my children do not study politics, one wants to be a programmer, the other an engineer. do you use social networks? is this interesting for you? before i became president, i headed a state organization for the development of the internet, devoting time to social networks, i do not forget about real contacts with people, online public does not reflect opinion. the majority opinion is that these are only sketchy fragments, possibly a fabricated company. new project of the first

channel, the global majority, bashar assad on sunday on the first. we continue our conversation about polenov's busadba. and today our guest is the director of the polenova reserve museum, natalya polenova. she is the great-granddaughter of the great russian artist vasily dmitrevich polenov. but enlightenment and raising children was naturally continued by father dmitry vasilyevich, a historian-archaeologist, and it is known that he took the children around, so to speak, small provincial towns, they visited fairs, which means that there were also sketches of young polenov, the kremlin in novgorod, all sorts of, so to speak, stories about these trains. and as a matter of fact, as i understand myself, from...

the family went to the zoo and there four-year-old vasya sketched an elephant in a very outstanding way - immediately his parents noticed him, so to speak

, she herself was a good artist, as evidenced by the large collection of graphics from our museum , she took lessons from such a moldavian artist, plus her husband knew karl brelov well, so in general they exchanged opinions in every possible way with the creative intelligentsia, so vasilyevich polenov from early childhood, his parents encouraged him very much. during his travels - his parents suggested that he also sketch, well, plus, of course, they always brought with them some souvenirs, some artifacts, they formed the basis of family collections, including there, for example, we even have ancient greek collection, even an ancient egyptian collection, these are things that dmitry vasilyevich polenov is a collector, archaeologist, diplomat, because

he worked in the diplomatic mission in athens for 4 years, brought from his own... it is therefore not surprising that he passed on our museum to his son vasily dmitrievich, expanded it, probably , he also traveled a lot to the east, he also expanded the egyptian collections, absolutely right, vasilyich made two trips to the east and always brought some unique items with him, here we see, of course, figurines of ushept and... skorobeev and much more , and even bit for mummification, all this, these are like this, you know, i believe that this is the type, that’s how, for example, in western europe such things as kunskameras were very common, that ’s what they call, a cabinet of all sorts of unexpected things, here you are you come in, yes, that’s absolutely right, curiosities and incidents,

that is, you come in here with a lot of amazing things for that time, that is, something that is impossible to find. place, absolutely true, and why it is in a central place, i will explain, because during theatrical performances, when theatrical performances took place, then they lowered him so that with the play of light he could enlarge and depict a dragon, for example, or something like that, that is, he took part in all sorts of family

celebrations and theatrical performances, but that’s how he is yes... in the exhibition there is a room called the library, uh, and don’t forget that the emphasis is on the word about, uh, so it’s considered that this is an old st. petersburg thing, it’s not a library, but a library, that’s what we call it this room, and here in front of the fireplace - with the family coat of arms, with family heraldry, this little crocodile, he is 13 years old, well , experts say so, in general crocodiles live up to 300 years. well, in fact, all these collections have always been available to the public, well , today it’s a museum, we understand, it’s accessible, but before, when it was basically a private house, it was all open anyway, these collections could be seen, people came , just like that, when the house was built, vasiliyvich polenov immediately put up these collections of his, there really are a lot of meetings, and there

painting, archeology, decorative and applied arts, all this is done with amazing taste, because polenov is a real esthete, what can i say, his house speaks about this, his park speaks about this, his whole life and his fate, this is a man who lived according to the laws of aestheticism, beauty, well, in his absolute, so to speak, horizon and context, and this is the house of a truly man with impeccable taste, well, one cannot help but say that... he was also a great lover of music and even composed music, and musical evenings - were a practice in the house, well, an esthete cannot live without music, of course, so of course here it’s just in...

ghost performances, so we also sometimes performed it at the tula drama theater, at the kaluga drama theater. but the most grandiose collection in the museum is the collection

of paintings, of course, but what is also very interesting here is that almost all the works are donations, that is, few were purchased; these were friends, students, and colleagues who brought them to the museum. but on the contrary, i want to tell a story about a purchased item.

work, yes, there really is a collection of the polenov museum, it consists of, many things were donated, for example, there is such a painting by abramtsev ilya efim cherepin, it depicts the terrace of the abramtsevo house and a small female figurine, this is the bride vasilya dmitrovich polenova, natalya vasilievna and kunchikova , they met in abramtsevo, they got married in abramtsevo, this is the work, repinskaya, it was a wedding gift to the young couple. then there are many other things, too, for example, the works of korovin, the works of isaa ildivich elvitan, the works of ivan shishkin, makovsky and so on, in principle, this

is really a very good collection, which polenov collected either from gifts from his students, or even artists had such, there was such a tradition of exchanging works they liked, that is, if some works were liked, they could be exchanged , but vasilirovitch polenov decided to buy a crow so that... we know and which we see now on this hill. this is a precious history podcast. and there was a stone church, which we are talking about today, about the museum of the estate of vasily

dmitrovich polenov, about the crocodile told. there is also a cannon, it is surrounded by a collection of sabers, which, on the one hand, were a prop for painting some paintings for vasovich, and on the other hand, a prop for staging performances. but there is this cannon, which most likely was used for fireworks , a small one for the holidays, but there is also a unique saber, you told me, and this unique saber was given by the montenegrin governor mashvarbitsa, to vasily dmikovich polenov at the time of the turkish-serbian company in which polenov participated, polenov volunteered for the front and that’s what this page is all about.

that is, but what i noticed is that he didn’t describe a lot of yes, terrible things that he saw, but he didn’t reflect it in any way, how could it be, he couldn’t go through something, we have , well, first of all, i remind you once again that he worked as a military correspondent, well, as we would say now, yes, he worked as a special correspondent for the illustrated magazine bee,

with his samovar, here i have it, and it’s not just a samovar , this is historical the samovar, in general, so to speak, accompanies several generations of the polenov family, it is believed that this is the... samovar, it is generally unique, it is called a spider, we restored it a little, it was cleaned, so to speak, these wooden parts are already so modern , and it is cleaned, but it is generally a unique samovar, they say, they say that it just accompanied vasily dmitrievich polenov during his balkan campaign, that is, it was, well, like a thermos, but in general it is believed that it accompanied vasily dmikovich polinova during his balkan... campaign, but he definitely accompanied his son dmitry, during the first world war, he participated, the son of vasily dmich polenov, also participated in battles, for which he received the st. george cross and so on, and served in

the cavalry and the fact that he was with dmitry vasilyevich during the first world war - that’s for sure, well, they say that he also visited the balkans, he’s called a spider, you see what legs he has and this is his path. it’s a road one, yes, but it’s generally heavy, it’s really very, well, it’s not easy, probably to travel with it, because it is quite heavy, but this is such a camping, camping samovar, i thought that since i came from the tula region, i would definitely bring my own samovar, i would definitely bring it with me to the samovar, and the diorama, natasha, this is what it looks like - well, well , in general, in fact, i don’t have no right to tell the secret of the diorama, i don’t have it, because it’s completely somehow uh, well, people... will see this secret, find out and this magic of this will disappear magic when people come to watch we have a diorama in the museum, but i brought you the original diorama, now we are showing what we show every day - this is a penny diorama, and this is the original diorama

of vasily dmitrievich polenov, this is a madrid painting, which, unfortunately, we do not show in our reduced size - abridged, yes, this smaller abbreviated version that we show. he visited different places, he traveled a lot, throughout europe, he traveled, to the middle east, he traveled, here is the second picture, this is the nile, and also not they show it in a shortened, shortened

version, you see, well, i don’t want to tell the secret, i don’t want to tell, the plot, the plot is that it’s a round-the-clock journey, but no, i’ll tell the plot, but i ’m telling the secret of the diorama. a wonderful artist, he was such a man of renaissance scope and an intellectual, he spoke six languages, he had a huge library, he himself read the originals, goethe, schiller, translated and so on, and of course,

finding himself in the twenties, at the end of the twenties , where he ended up in province, deep in the province in the village, he saw what a low level of education people had, including children, and... decided, came up with this wonderful educational project in order to simply expand the boundaries of the imaginary, visible, known, show the world, show children the world, now he was almost 80 years old, you can say when he painted this diorama, this is a whole cycle of paintings, a trip around the world, united by the plot of a trip around the world, the point is that we are setting off: from polenov and back we return to polenovo, and in 15-20 minutes, well now in 15-20 minutes, here we have naples in izuvie and so on, in 15-20 minutes we see the whole world, we will visit america,

america, latin america, china, european countries, turkey, we will cross the black sea and so on, we will see all this, and then we will return to polenovo and home again. for the new year's tree performance we are again sitting by polenov's fireplace, well , when polenov showed his diorama, it certainly wasn't 15 minutes, because only in the picture of latin america, he completely... read the song of ogayawata langella, for example, in the picture of venice, he gave a huge lecture about who the venetian doges were, that is, his diorama text was of course like a real educational lecture, but the children of the late twenties in these villages, where there was no school, no education, no light, no food, nothing, no water, well, nothing, in general, they sat and listened to this in fascination, and even... to the horse , so he harnessed the horse,

sat down in the sleigh, put his a magic box with two candles, his legs were very swollen, he was already very sick, they cut his felt boots, so he came to this village, showed this diorama, and there is even such a story, it’s true, it’s also written down that at the end of such a session, when he showed all this, told all this, read: snyago yavatilangella, a little boy came up to him and handed him a tiny homemade white bun and paid him for this show with this white bun in the hungry twenties - paid vasily dmitrovich told him to eat, thank you very much. natasha, well, you can talk about logs at any time without any informational reasons, but here we also have an anniversary. yes, this year polenov turns 180 years old, so you put on your belt and approached him. but we are always ready for anything, of course, but i

just brought the catalog of an exhibition that has just opened in somara, why don’t you ask in somara, i answer this question with one answer, and where else, well, where else, if not in samara, wonderful catalog, which was published by the samara art gallery, they decided to open the polenov year with their large retrospective of polenov. 76 works by vasily dmitrovich polinov came to samara from twelve regional museums of russia, so to speak, from twelve museums there are things from the tretyakov gallery, the rest are regional museums, that is, omsk, yekaterinburg, vladivostok, there are very good collections, magnificent collections when the twenties were distributed different years, magnificent collections, moreover, i ’ll tell you, not just magnificent collections, from irkutsk for the first time, well, in almost 100 years. that is, in 1928, the irkutsk art

gallery received a huge painting of christ and the sinner, well, a slightly reduced copy, but by and large, in general, there it is more than two meters, one and a half by two more meters, christ and the sinner, it entered in 1928 in 2024 for the first time she left the walls of the irkutsk museum in order to go to samara for the exhibition “man of light” for the eightieth birthday of vasily dmitrievich polenov, here is a wonderful catalog published by samarets, in general i congratulate them on this unique project, this is exactly the irkutsk thing, well, which in general completely repeats the imperial thing, i congratulate them on this wonderful project, this is how we open polenov’s year, in the summer some events will definitely take place on our estate, and there will be a festive evening in moscow in tula, and i hope, if everything goes well, we will close the end of the year with a seaside picture.

hello, i’m dmitry bak, we’re having another episode of a literary podcast: let them not talk, let them read. today we have an absolutely unique guest, you all know him well, at the same time, i’m sure you don’t know him completely, he is a young, passionate, strong, active, risky person, he is a man who knows russian poetry of all times, he is a famous poet. a scientist, this is a professor, this is

a laureate of many awards, this is a television journalist, this is igor leonidovich volgin. hello, igor. hello, dima. we will be with you, as we are in life, i am very glad to see you. and, since i promised our interlocutors that they would recognize volgin and not recognize him, let’s start right away with that points where they maybe don't know you completely. now i ’ll read some line, ah, for example, from white akhmadulina, and igor will try to continue: it’s me, my purple outfit, i’m an arrogantly fat young woman, but to my deathbed... igor volgin, participant, witness of all those phenomena and events that we are accustomed to calling the khrushchev thaw, or simply the thaw, this is the period that is, as is commonly believed, between the fifty-sixth year, the twentieth party congress and the sixty-eighth or seventieth

year, this is the era of debuts, the era of beginnings, well, yes, this is the era of the sixties, of course, although my generation... we were called undergrowth, we, because the generation of the sixties was born in the thirty-second, thirty-third year, yes, we are 10 years were younger, of course, but this is a wonderful era, these are not only literary debuts, this is a historical debut, a change in attitude, if this era had not existed there would have been no literary debuts, there would not have been, there would have been a yavtushenko, but another yavtushenko , of course, it would be possible voznesensky, although i am in this i doubt it, but it would be a different galaxy of poets, for example, i remember the first meeting with yavtushenko, he had an evening. on the big ekimanka, where, by the way, there was a literary museum at that time, an architectural museum, i saw it for the first time, we came to - no, this was a little later, yes, but we didn’t know each other yet, we came, that means to this literary museum , there was a huge crowd standing there, the windows were opened, yevtushenko came out wearing something so extravagant, i remember how

amazing it was, i first heard this rhyme, yevtoshenko’s new one, which updated dictionary, updated poetics, and the root rhitharithm of the middle.

well, that is, and so long live the career, when the career is like that of shakespeare, pasteur, homer and tolstoy, the lion pauses, i promised, i promised, here is igor volgin, but the carriage and the career, think about it, the words absolutely end, this such a powerful beginning, i remember the very beginning, for me, i was a schoolboy, 1959, evenings on mayakovsky square, when people gathered on saturdays, a crowd, everyone could read, only then was the monument erected. chechulina yes it's the eighth year of the opening of the monument , somewhere at the end, apparently, the renaming of the square and the change of the square, and we gathered there, and moreover, there was such a spontaneous reading, but there were also in the days of poetry, the same yevtushenko spoke there, it was already official, but we gathered there, i remember there antakolsky read skifov, there were people from mayakovsky’s team in 1929,

amazingly, mayakovsky’s team, which organized his last exhibition, let us remind you, the last exhibition at... who he will become and that the future is many, many there there were people, it was also such a parasitic phenomenon, i have never gone on a single personal date in my life with such excitement as on mayakovsky square, my debut was there before my debut, that is, it was as if there was already recognition, although my first publication was in the spring .