hello, dear friends, this is the podcast life of the remarkable, with you i am its host writer, alexey varlamov. this year marks the 180th anniversary of the birth of ilya efimovich repin. it is about him that we will talk with tatyana. art history. hello, tatyana vitalievna. hello. here. repping, really such a powerful, well-known figure, and it would seem that everything is simple with him. yes, he is such a lucky guy, a darling of fate, a man who was born into a poor family, made himself, achieved success, became one of the greatest, most famous artists of his time, was already recognized in time and remains so. classics and for us, and for

all subsequent generations, still, tell me, please, what do you think, is there some kind of secret in him, some kind of mystery, some kind of intrigue, some kind of, if a dramatic turn, can we include it in order to talk about it? i think that of course, because this is really a very large-scale figure for russian art of the 19th century, only the nineteenth, well so to speak, in the first, third of the twentieth , you can also say, yes, because he lived a very long life for... he was born in 1844 in chuguev near kharkov, and died on the territory of the finnish state in 1930, in his estate penaty, he was a contemporary of gogol dobrolyubov chernyshevsky, on the one hand, so to speak, as he considered himself to be a philosopher. actually, he met matisse,

picasso, yes, and burliuk, mayakovsky, maykovsky came to visit him, korne chikovsky was his closest comrade, friend, author of memoirs, this is his self-portrait, it was painted in the late eighties, i think it was in 1987, it is kept in the kovsky gallery, it was painted in florence, here you see, there is even an inscription florence, such a very happy moment in repin’s work, when he achieved, well, maximum, probably fame, among his contemporaries, he goes abroad, travels around italy, he loved europe very much, and so to speak, his italian impressions are described in every possible way in his letters, memoirs, here after visiting the ufizi gallery, which was famous for its self-portraits, he paints his self-portrait, and he signs it,

a sociable person, actually he entered this family, and he was very much invited to the house, in him, apparently, this talent, it was felt, and felt, well , almost from birth, well, actually this marriage, it was concluded quite quickly, and from this marriage repin had four children, three daughters and a son, the son became an artist, yuri, the youngest daughter tatyana, from her, actually... descendants remained, she had

a fairly happy marriage, six, i think there were children in her family, and two older daughters, vera and nadya, about whom he wrote quite a lot, starting with the academic couple in france, he painted their portraits in paris, he went with them to europe, yes, he went with his wife, having received a large gold medal after graduating from the academy of arts, he went with his wife to paris. there they lived for three pension years, that very pension that the academy of arts paid for. in parallel with the resurrection of his daughter aira, repin fulfilled his the famous work barge haulers on the volga. i read somewhere that - for repin it was such a very personal story, because when he was a child, a tragedy happened in the family, his cousin ustya died, she was his sister, yes, and here i would certainly start. these are some of the life

events for most artists, especially artists of the 19th century, who relied on nature, on life impressions, and repin in this sense was... of the century, by him you can equate, so to speak, compare many events that took place in the domestic art of the 19th century, he, of course, pushed off from life from reality and the death of this sister usti, which was described in his memoirs distant and close, and there he describes how difficult it was for him to compose or, so to speak, to develop a compositional...

he immediately begins to recompose the plot, here you can see in the picture, here it is not very visible in the image, how he changes the position of christ, he directly moves him, he writes with charcoal immediately on the canvas, neglecting those the rules that existed in the academy of art, the sketch in charcoal and the actual sketch in charcoal was written by him, but so to speak, he quickly changes everything directly on the canvas, already in his later years he... reflecting on what an artist is, he writes that the most important artist of the universe is god, and the profession of an artist is a divine profession, because only at the moment when the artist connects with the holy spirit, when he understands that

yes, it happened, this contact, then, so to speak, his hand is guided by divine providence, that is, an artist is a brush in the hands of god, yes, yes. and he always perceived it this way, he could not imagine any other life, in this sense, of course, he is an artist, probably unique, because rarely does anyone, so to speak, realize this during his life, yes, here is actually his happiness, happiness, your happiness, we are still accustomed to the fact that our creator is a suffering person, yes, as dostoevsky said to merishkovsky , one must suffer, a young man suffers, just repin was one of those who did not really respect dostoevsky's work, he was what they call: in the mainstream - of other mindsets, why did this epicurean, this life-loving person, why did he suddenly turn to the topic, yes to the painting, which may be, well, it is debatable, what is repin's most famous calling card, you can argue, but probably, if you ask any person on the street, he will say barge haulers

on the volga, that's how it happened that he turned to this subject, well, you understand how, for artistic impressions he goes first, so to speak, along the river, he travels along the neva, being a student at the academy of arts, and after some time he goes to the volga, and in a group, so to speak, again with his artists, classmates, among them was fyodor vasiliev, a landscape painter, and his younger brother, during such a trip along the niva, he meets burlakov and this idea is born, and he brings many sketches to the academy of arts.

does not read homer, it is no coincidence that images of antiquity, not just beads, so to speak, were very important to him in his work. say, turning to the layers of european, world art, he was a very educated person, if we return to the image of these barge haulers, then here is the central barge hauler of the stall in such a pink shirt, and he was painted from one of michelangelo's slaves. these, dear friends, are the rods and cones that are located in our fundus, here they are on the screen on... thanks to these rods and cones, just three colors red, green

and blue, we see our multi-colored and diverse world, what products give life our rods and cones inside our eyes, this and much more in the program live healthy, tomorrow on the first. i can't. we are happy on our own, well, dear friends, in the circle of talented people time flies unnoticed, two stars, fathers and sons, on

sunday on the first, in the new season on the first, today we were auditioned for hort gracheva, great, yura, you definitely need to sing, come on, you have to sing, how are you?

choir. premiere of the multi-part film. soon on the first. from your point of view, the most key, the most important works of repin, without which cannot be dispensed with, but if possible in some relatively chronological order. so after the barge haulers on the volga, what did he shoot with, as they say today? he has quite a lot of interesting themes, and i, well, so to speak, when i was working on the exhibition, i brought out three, three, as they say. themes, this is the image of the people, which, so to speak, is shown by the barge haulers, the religious procession in the kurst

province, yes, the image of the intelligentsia, the relationship between the people and the intelligentsia, he was also very interested in this gap that existed between the russian intelligentsia people, he was also interested in this topic, repin was very much interested in the psychology of historical figures, the psychology of contemporaries, and from here, so to speak, after sophia, he has the image of ivan the terrible, well, yes, also one of the... one of the most, of course, yes, maybe even the most famous picture, and even more so with such a tragic fate, yes and certainly yes, and fate, and the theme itself, which it addresses, yes, it is like an accidental murder, when ivan the terrible realizes, all the horror, all the horror of what he did, that's it actually, this horror that is written on the face of the terrible, yes, on the one hand, on the other hand, the theme of such a beautiful... the dying of the tsarevich and the madness of ivan the terrible, who

finally realized that, so to speak, the irreparable had happened, and this is the theme of the crime of punishment, punishment at the cost of a whole life. here, so to speak, a very, so to speak, profound reading of this picture can be, if we begin to, so to speak, look into it, because look at what theme, what iconography ivan the terrible uses, this is the iconography of pieta, mourning. but it is as if here the art of realism mourns its victim of course yes well, that is to say it is turned upside down because so to speak the horror of this murder it is here. certainly revealed, presented to us with our own eyes, and for contemporaries it was a very terrible picture, that is , memories have been preserved that women who came to the traveling exhibition, they simply lost consciousness at the sight of this abundance of blood, this terrible horror, in 1913 you remember, the icon painter balashov attacked

this painting with a knife and inflicted, so to speak, three knife blows with the words yes... finishes, he painted it for 4 years, this painting, in 1985 he exhibits it at the st. petersburg traveling exhibition, already when it moved to moscow, to the moscow exhibition, a week later the censorship ban came out, by that time, it was the first time that the censorship banned, not the first, not the first, i'll tell you now, by that time the painting was already in the ownership of pavel mikhailovich tretyakov, he

transports it, having received an order from the moscow governor-general, he transports it to his gallery and closes it.

march 1881 by the narodnaya volya, 4 years later repin's painting was completed, as repin himself wrote, this painting took a lot of his strength, many years of his life, one of such inspirational sources for him was rimsky-korsakov's opera, dedicated to love, life, place, in addition, in 1983 he travels around europe, goes to spain, and watches this carida. on the one hand, yes, he takes such tragic plots and even falls under the influence of censorship, on the other hand, yes, he writes alexander ii, who receives elders, writes the state council, that is, i want to understand, what was his position in general, he was, he was in the opposition, he was for the government, that's what his position was, actually, the thing is that this

painting was also ordered, orders, he simply wrote, what i order, i will paint or something like that, well , he did not receive orders that often. this was, this was an order from the ministry of the imperial court, and what is interesting is that at the time when the corrupt events were taking place, and so to speak, alexander ii ascended the imperial throne, it was summer, may, in my opinion, june, 1883 repin was in spain, repin did not see all this, that is what is interesting for a realist artist, but he agrees to paint this order, he paints this work. and even depicts himself there, you see, the artist is standing there by the fence, but he really looks like repin with an album and a pencil in his hand, he seems to depict himself, again, joining the tradition of european art, as many artists of the tittaret, depicted themselves, so to speak, painting some event, and here he solves a very interesting problem that

was put before him, the people and the king, the king, well, and he solves it, how can you interpret it? and he solves it, i think brilliantly, well, no one argues with this, because one of his first etides was when alexander ii, he got lost in the crowd of people, and here what he does, he creates this kind of pause around alexander ii, yes , an empty space, the people look like a kind of pedestal, exalting alexander ii, or some kind of fence, when he starts writing this the picture, he... he paints, what was really important to him was this development of this composition, the discovery of the compositional solution, the large scale, here, if i may say so, we will analyze all

this work in detail, we will understand that this work is not so much devoted to the return of the exile to his family, it is devoted to philosophical questions of understanding life, what is the meaning of life, after all, what is repin putting on the scales here, so to speak, look here... it is the theme of home, family, yes, the girl is playing music there, the children are doing some lessons, yes, there is a map hanging there, there is a famous painting, an engraving from shteibin's painting golgotha, which , so to speak, is already tied to the return of this messenger, yes to his family, here it is the quiet world of the house, here it is the through space of this messenger, yes, as if there is this road behind him, and he is given such a dark... silhouette, he seems to fall out of the light space of the room, and there outside the window, the originals, it is clearly visible, fresh

greenery, washed by the rain, bright sun, here they are the scales, which is the charm, so to speak, of home life, there are children, and that life, which he says, personifies, yes, this is a return of the soul after, so to speak, long years of hard labor, so in contemporaries. assessed this picture, still can not but evoke sympathy for his figure, and therefore, here the situation is such, when this work was presented at the twelfth traveling exhibition, he entered more confidently, confident in himself, after four, repin suffered for a very long time over this picture after he rewrote this work three times in the final version the image of a strong man, you see, he enters uncertainly, he is confused. he is looking for contact with his mother, and he does not understand how his mother will greet him. in the soviet years they wrote that in a minute the children will rush to him,

hot hugs will begin to come to him, and maybe he will kneel before his mother and ask for forgiveness, like rembrant's prodigal son. it is no coincidence that contemporaries compared this picture, some compared it with the appearance of christ to the people, with a picture, a famous picture of the appearance of the messiah,

olek, i advise you to be careful with whom, with everyone, trader, tomorrow, after the program time, you should contact him and give him new task on the same object, to get him out of cancer, to get him out of the game, alexander nikolaevich verchinsky, vera vasilevna is cold, mom, and shurik has a jacket like dad. by what right do you decide what we should do? by the right of a man, and have you been in constantinople for a long time? 2 days. elena palovna, this

poor child just fell into a hungry obmark. do you want me to become your mistress? yes, i agree, to marry, only to whom, how good, to wake up alone. i will be his wife, well, you will hardly be his wife, for the reason that he is already married,

repin is a portraitist, let's talk about this.

the portrait, actually, when he painted it, it was clear that he didn't have long to live, that's the drama that, so to speak, he captured in musorgsky's portrait, we actually read it here, yes, that's the talent, the potential of this grandiose man, who didn't have time to fully realize himself in life, and musorgsky knows that he doesn't have long to live, and repin, so to speak, captures this, and what's also very important, he doesn't embellish his model, if... so to speak, that's when we talk about repin's work, you need to understand that his art was very far from beautiful, on the contrary, so to speak, he evoked, his art provoked, but with the unkempt image of musorgsky, his red nose, this hospital gown, he was not afraid to depict this truth of life, well, as he saw it, as he understood it, he did not...

stop, he, and there is another famous story with korney chukovsky, where repin paints chukovsky, at this time, news comes of tolstoy's death, well, i probably won't remember this story now, but there are really many different stories about how, so to speak, he works on his models, i just wanted to say now that repin was so carried away by the creative process that he, so to speak, begins

to work. it, so to speak, comes together for him, it works out, but then, so to speak, out of a desire to improve, he can , so to speak, spoil something, then he scrapes it off, then he starts again, just like karne chukovsky wrote about how he scraped off his works 10-15 times, well, i don’t know, whether it was already down to the canvas or not, he began again, that is, this creative process, it was unstoppable for repin, well, as i would have already told you, this is the famous portrait of tolstoy.

and so to speak, i visited many times and, so to speak, painted his daughters, and repin captured more than one pictorial and graphic portrait, so at our exhibition in 1919 there was a very interesting portrait of tolstoy in 1919, painted a year before his death, when tolstoy was already sitting in such a burgundy chair, and tolstoy was already looking with one foot, as they say, into another world, and repin did not afraid. to capture it, his this theme of life death and the transition of a person from one state to another, so to speak, in the era of positivism, the development of science, he was very interested in this, he was very interested in psychology, by the way, that's why he was so interested in all this, he is not afraid

to capture it, and here are a few moments, you recalled the death of usti's sister, he also captured it, so to speak, yes, and once he came to his friend chizhov, found him...

joins, he is fascinated by people, he is interested in everything new, he communicates with dyagen, he is with the world of art, but after a year he parts with them, so to speak, returns again to the bosom of the itinerants, by the way, i think,

he left the itinerants three times, or twice, i think, and returned, that is, he was not afraid to change his, well, so to speak, but he was a very large authoritative person, he can, he allowed himself, apparently, that he was carried away, free, yes, he quarreled with stasov, quarreled with the world of art, and spoke out against the new avant-garde movements, calling them decadents, swearing at them, not afraid that, so to speak, they would laugh at him, accordingly, they did not stay for long, it was such a very heated debate, and there were many very funny and evil caricatures of narepino, well, so to speak, he calmly endured all this, but somewhere he was worried, of course, for him it was a drama. history, when there was an attack in the thirteenth year on his painting, ivan the terrible, so to speak, it suffered, burliuk, voloshin, they began to defend this guy who cut it, no, they did not defend him, they believed that repin provoked him, well, they thought,

yes, they thought that the picture was provocative, that it had a very, so to speak, negative effect on the psyche of the public, the viewers, because they themselves were provocateurs, they were very impudent hooligans. and then repin, so to speak, well, he was kind of incognito among the listeners of this dispute, but nevertheless he comes out on stage and , so to speak, tries to somehow object, but he agrees with something, and it seems to me that

he uttered a very important phrase then, when , so to speak, his work was condemned from the stage, ivan the terrible to ivan svinov, how many years have passed there, more, more than 20 years, yes. how it was created, how it hung in the tretyakov gallery, and he asks a question that remains unanswered: what should be banned from shakespeare now? comparing himself with shakespeare, one might say, he put... he gave himself a proper place in russian art, he had self-esteem, everything was fine with him, i say yes, that in this sense he was a man, you know, on the one hand he criticized himself, he was dissatisfied with what he was producing, because that image, which he had in his mind, he and what was born on the canvas did not always correspond, and he castigated himself, he said about himself that he suffered from the vice of self-abasement.

30 years, consider, yes, at first he lived in st. petersburg, and came there, well, so to speak, on weekends on his free days, and there natalya borisovna set up a workshop for him,

a funny incident that tells about how the young people treated our karifey ilya efimovich, somehow, when repin met mayakovsky, he was very interested in his textured appearance, and he was completely shocked by his hair, they agreed that in the next few days mayakovsky would come to him from... yes, to pose as a model and mayakovsky, that is,

having gone the next day to repin, on the way he stopped at a hairdresser's, completely lost his, yes, hair and came to him absolutely bald. repin was very disappointed, well, somehow it didn't work out that way, inspiration disappeared, and of course he was inspired by people, so you and i started talking about the fact that it was not by chance that rozunov called him a great feeler into the human soul. exactly like that, who fell under repin's brush, he, so to speak, was subjected to a very cruel psychological analysis, in this sense irepin did not tolerate any falsehood, he was, so to speak, incredibly truthful, very insightful, he read people, in this sense he, of course, so to speak, energetically was a person of a very high order, wonderful, we will finish on this, thank you very much for this conversation, so, dear friends, this was the podcast life of the remarkable, we

talked about the truly remarkable artist ilya yafimovich repin, who this year 180 years since his birth, although we can talk about him in any year since his birth, and my interlocutor was tatyana vitalievna yudenkova, doctor of art history, head of the department of painting of the second half of the 19th, early 20th centuries at the state tretyakov gallery. yes, come, come to the state tretyakov gallery, see repin, see him in the russian museum, in other museums, because repin is our heritage, repin is our everything. exactly, thank you. hello, with you. and today we will talk

about gold, a little about how valuable, wonderful, beautiful it is, and about how to find it. and our guests today are geologists, olga yakubovich, professor at st. petersburg university, research fellow at the institute of geology, geochronology da cambri eran . hello. hello. silevanov, head of department at the central research geological prospecting institute of non-ferrous and precious metals, what a complicated name, but gold is a noble metal for us, yes. look, let's talk about gold from the very beginning, where it comes from it generally appeared in the universe, if i'm not mistaken, initially it was believed that these were supernova explosions, only they could generate gold, then astrophysicists considered that even such a large-scale event as a supernova explosion, gold hardly appeared, because it was very heavy, and a completely

catastrophic phenomenon of a collision of neutron stars was needed, if i understand correctly, here is the birth of gold in the universe, well yes, as far as we know, here... physicists managed to observe a collision of neutron stars several years ago, they saw the spectrum from this collisions, and there really was a large number of heavy elements, including gold, so well, the modern scientific paradigm, we don’t really know how it was, that gold, these are elements of a mass close to gold, appeared as a result of the collision of neutron stars, then this substance somehow got into the protosolar nebula, which gave rise to the solar system.

as a result of such a process, which, well , scientifically is called accretion, this is when small particles under the influence of gravitational interaction begin stick together and form such a critical mass, which is enough for the substance to begin to melt, in particular on the ground, here the sticking particles heated up so much that a separation of chemical elements occurred, approximately as in the analogy with a blast furnace, when we smelt metal, slag, some gases are separated and...

most of the gold apparently really sank, because if we take this undifferentiated substance of chondrites, then the order of content there is an order of magnitude, that is, 10 or maybe more times more gold concentration than in the earth's korea on average, that is, meteorites brought us a lot of gold, yes, this substance, it was collected, this protoplanetary and gave birth to the earth, and although there is indeed a version that during the late... meteorite bombardment, there was a repeated enrichment of the upper geospheres with gold and other heavy metals, including platinoids, i don't know, i can simply explain, yes, this is zimbardization, it is believed to have occurred approximately 3.9 billion years ago, that is, if the earth 4.5 billion years ago, then there

, practically 500-600 million years later, this catastrophic event for the entire solar system happened, we see traces. bombardment on other planets, uh, in fact, if we look at the chemical composition of the earth, the chemical composition of the mantle, the chemical composition of the same meteorites, we will see that our mass balance does not quite add up, that is , according to all calculations, as you correctly noted, that there should have been less platinum and gold on the earth, well, in its upper parts, but in fact we know that we have deposits and gold platinum, so we need to somehow come up with how it happened that... not all the gold and not all the platinum sank into the center of the earth, and we are looking for models that could somehow explain this? today we will talk to you in the mode of such a funnel, so we started with the universe, narrowed down to the earth for all the years of its existence, let's now move on to where the gold came from on the territory of russia,

this is the origin of those deposits, which is there in krasnoyarsk, in kolyma, where we have gold, everywhere, everywhere, right? as the great scientist vernadsky said, the entire periodic table is dissolved in every drop of water, so gold is not only on your finger, there is some amount of it in the body, but it is vanishingly small, another thing is that the areas of gold concentration, yes, they are quite specific, these are areas where there were such events as collisions with... four events of magmatic activation and where hydrothermal processes with the participation of highly superheated waters were actively proceeding, which are good at transporting gold , including, well, in simple terms, where there are mountains and where there are volcanoes, there

is mostly gold, well, or where there were volcanoes, because siberia of course doesn't erupt much now, but once upon a time, yes, or, for example, the kola peninsula, the most ancient rocks come out there, once there were mountains, but they were cut off a long time ago, the last time they were cut off by a glacier, and there are no mountains there. already, when all this was happening, that is, when gold deposits began to form on our territory, here are the earliest the deposits that exist, they belong to a period called the archean, which is about 2.5 billion years old and a little older, very early deposits, that is, the moment of the formation of the earth, they do not exist, that is, the earliest ones begin in the region of 2.5-3 billion years, in fact, these are rich ores, because they reflect very unusual...

the urals, and this is a range, well, probably from 650, if we take, just the yenisei crash, well , maybe even from 800 million years to the present day, because the modern system in chukotka, in the far east, they are in in general, they are determined by the age of 50 million years, 60-90, well yes, by your geological standards 50 million - there is even a modern action.

in geology there is such an approach that allows using isotopic systems, in other words, the radioactive decay of one chemical element into another, to determine the age of this process, if i explain it on my fingers, then when a mineral crystallizes, some amount of radioactive isotope gets into it, well , for example, uranium, this... uranium decays over time, forms lead, accordingly, if we take a mineral, measure its lead content relative to the uranium

it contains, we can substitute the formula into the law of radioactive decay and calculate how much time has passed. the uranium -lead system is not the only isotope system that exists in geology. for example, we know that potassium, one of the very common chemical elements that, in general, surrounds us and we eat, there is in one banana, how much of the same potassium. it is radioactive, beta is radioactive, by transformation too other chemical elements are transformed, in particular it has a decay channel with the formation of argon, this is probably the second most common method for determining the age of minerals, but if we return to the question of how to determine the age of gold, this is a difficult task, because gold usually does not have much uranium, just the opposite, a lot of lead, it is difficult to measure here, gold has little potassium. and there is a need to either use some other minerals that are indirectly related to gold, that is - we as geologists,