this farmer - so to speak, with a commission from aleran came to alexander and explained to him that in general it was enough to play the fool, to run after napoleon, when in paris the situation was already such that it was possible to go there, it was less work, it was necessary to take the capital, everything, in the end the final decision was made by alexander himself, and he had to persuade the allies with great difficulty, so to speak, and so on.

there should be no songs of the year, sing so that the sun rises, for, the premiere of a multi-part film, soon on the first, it's historical podcast, we continue to understand the personality of emperor alexander i. of course, alexander's victory also consisted in the fact that napoleon was waiting.

on a white horse, which calincourt, the french ambassador, had imprudently given him at the time , here are the enthusiastic applause of the parisians, they showered him with flowers, he did it not without effort, because the mood in the army was such that it could have happened, i don't know, a second st. bartholomew's day massacre, because there was hatred for the french, prusakov, first of all , was enormous. simply, when alexander with with these rumors about the possible, possible reprisal, so to speak, went over to the prostor of the king's, well, i can't do anything, so alexander, with his authority, managed to avoid the massacre, or what? alexander , in a conversation with yermolov, commented on his entry into paris as follows: well, alexei petrovich, what will they say now in petersburg, after all, there was a time when we considered the great napoleon a simpleton, that is , revenge. yes, revenge, for telzit, for the humiliation in

telzit, for everything that he is inside the country, then there is a revanche - it was not only before napoleon, but also before those, before his own, before his own, who did not underestimate him, it must be said that alexander during the coalition, this coalition war, the thirteenth and fourteenth years of these companies of the thirteenth, fourteenth year, more than once showed will, when the allies after a decisive defeat wanted to make peace with napoleon. to which alexander said yes, that i cannot hurry 400 leagues every time, yes, to provide you with assistance, and he, in fact, continued this line in order to, to finish off napoleon, although immediately, as soon as the war ended and the penn congress was assembled, the allies immediately began to conspire against russia, there the stumbling block was the duchy of warsaw, poland itself, which alexander believed that we had conquered. we have a right to it,

the english and austrians thought completely differently, so plans were already being prepared for a coalition war, in which france, where thanks to alexander the bourbons were restored, the bourbon dynasty. yes, he did not think, he was familiar with the mood of the bourbons in general knew their value quite well, when the bourbons were restored, well , in order to restore the principle, the principle of legitimism, the principle of legal monarchy, when the bourbons were restored, the tolerant looked at all

this, having preserved his position, betraying everyone in his life who he could, he said: "the bourbons have forgotten nothing, and have learned nothing, he turned out to be absolutely right, because firstly, 100 days at once, what ..." such a policy, revising everything that was done by the french revolution by napoleon, that they turned against themselves for a few weeks the population of france, yes, and then, in fact, the bourbon dynasty ended in 1830, when they , with their policies, eventually forced the french people to finally rid france of this dynasty, you mentioned the congress of vienna, because there were like two stages, separated by these 100 days.

alexander was already a fairly experienced politician, so he did not react directly to the provocation, he simply writes like tarly that he simply discarded taleran as unnecessary, but did not spoil relations with mternich, because

the tsar needed austria, so the tests could be not only war, but also peace, so his former allies, so to speak, they... so in the end they agreed on the option that simply, so to speak , occupation, so to speak, troops, allied troops would remain in france for some time, russia strengthened its position, since the russian frenchman

richelieu was put at the head of the government. talirand, as far as i remember, was so sarcastic about the fact that this frenchman, so to speak, understands something in... including, so to speak, the effectiveness of russian policy in france at that time, so after the 100 days of napoleon, the situation kind of turned upside down again, russia found itself in a different situation, but nevertheless it continued, its authority, its power

continued to act, well, at that time it must be said that in general we must give credit where it belongs, well, of course, you can.

the question: was it not a strategic mistake of alexander, connected with the annexation of poland? this is the historical podcast russia and the west on the swings of history, today in the center of our attention to the personality of alexander ii and his policy. alexander, the winner, unlike all the other participants in the work at the vienna congress. yes, he understood perfectly well that without a solution to the border.

to ensure stability on the continent, he, unfortunately, was not listened to, yes, by the way, a very interesting detail, it means that he was supported by san simon, a french utopian socialist, yes, a french utopian socialist, he also wrote, so to speak, a participant in the congress in every possible way supported the idea, so to speak, of some new world order, already by this time, since the transformation in alexander in...

of course we've heard of him, but i think that a rare person has read the text of this sacred union, the declaration, the declaration reminds me of it not so much a political document, but a theological treatise, there are a lot of words about a single christian world, about justice and so on and so forth, and the meter pragmatist, unlike... alexander i, he was very worried about this document at first, that it was such a moral

manifestation of the russian tsar, nothing more, but in order for this document to start somehow work, it was necessary that other european politicians, greater pragmatists than alexander himself, they saw in this some useful political tool, after all.

to charm, that's his personal trait, he knew how to win personal sympathy. madame destal, a french writer said: " the russian emperor agamemnan, the king of kings." agamemnan, who led the coalition of greeks in the war of the stroy. greek hero, hero of the greek epic. accordingly, here is the russian tsar, handsome and powerful, seemingly merciful.

but nevertheless, the holy alliance was quite rightly called in soviet times. the alliance of monarchs against the peoples, one can say that this is soviet propaganda, but we honor klyuchevsky. klyuchevsky defined the role of alexander as follows: the sentry of foreign thrones against the peoples, this is klyuchevsky. well, yes, in this role alexander headed the holy alliance. and this became his main task. indeed, internal affairs receded into the background, after the war of the twelfth year, after foreign campaigns that exhausted the russian treasury, problems within countries. through the roof, a gigantic budget deficit, the economy is not in the best condition, but alexander began to care not about these matters, but about the affairs of this european world, preventing revolutions, he actively takes part in this, as a result, france receives support, in spain, accordingly, thanks to, including the position of russia, the revolutionary movement is eliminated, it is suppressed with

the participation of russia in the german states, really a sentry, i don’t know, even he thought about it or not, but it was...

well, here are the reasons for some real reliable there is no information about this, as far as i know, and the reasons for the appearance of these rumors there can be guessed, and well, he was only 47 years old, he died, you could say, although at that time it was already a respectable age, nevertheless, the death was unexpected, he died far

from the capital, no one was present at the solemn. well, in general, in short, there were certainly enough reasons for speculation and rumors, but that's all, i don't know what you think, but this is the case when a historian is forced to simply write supposedly everywhere, of course, the fact is that the russian people by that time believed that

the tsars, already emperors, do not die a natural death, because they either kill them, fortunately for a reason. it was given to think so many in the 17th century, and either their departure occurs accordingly, as it should be shrouded in mystery, this coincided, because there were impostors, in this case it turned out, it turned out, there were quite a few impostors of alexander pavlovich, they appeared in different provinces, were recorded, sometimes when drunk they pretended to be the tsar, well, it happened, sometimes like the elder fyodor kuzmich, they gave more solid grounds for rumors, but of course these are all rumors. and, of course, a serious historian here should say that alexander died, indeed, the conclusion can be said, perhaps, the following, simply state that for very... many years russia was not the main player in the international arena in europe, alexander i enjoyed enormous

authority for a very long time, but since he was not involved in internal affairs, then russia, deprived of a constitution, elementary freedoms, began gradually fall behind. the holy alliance did not justify themselves, nicholas was already forced to renounce them, uh, the decembrist uprising took place, with demands for these reforms, but it was prepared not so much by the rebels themselves, but in general by the policy, the late policy of alexander i, here we need to say one more thing, there is a paradox, alexander ii, perhaps, the most educated russian emperor, it was a historical podcast russia-west on the swings of history, with you. were peter romanov and sergei solovyov. study history with us. all issues historical podcast russia and the west on the swings of history you can watch on the website of the first channel 1tv.ru.

hello, dear friends. this is the podcast life is remarkable. i am with you, its host, writer alexey varlamov, and we have two wonderful guests in the studio today, the director and founder, which is very important, of the moscow design museum, alexandra sankova and the architect, artist, yuri avakumov. we have gathered here to talk, truly about the super-remarkable, super-remarkable woman vera mukhina, about her life, about her creativity. and let's start with those objects that are here on the table, here are three faceted glasses. there is a version that

it was vera mukhina, whom most of us, of course, remember and know from the majestic sculpture of a working collective farm woman, nevertheless it was she who invented this glass and thus the range of her creativity from the glass to this wonderful sculpture, tell me, is it true? or is it not true that this is vera mukhina's invention? well, i think that it is not true, that is , categorically not true. you know, there is different versions of what exactly vera mukhina did, but i want to say that i understand why this legend stuck to her, yes, because she was a great sculptor, a great artist, really very talented, she led for a long time, was the artistic director of the leningrad art glass factory, of course, under her signature, that's the advice, a lot of things went into production, well, because the art director, as always, even now in the modern world, also signs everything into production or sales, so there were probably

glasses, and glasses for water, for wine, and there are many stories about how she tested everything herself, even if at the village council, for example, they were making a glass for wine, she would say, let's pour some water from a decanter, let's try how convenient it is to mold from this, by the way, you can look, yes, but - specifically about a faceted glass. it seems to me that this was a kind of journalistic duck, when there was a celebration of some anniversary of the creation of the production of a faceted glass, some millions came out, so they took such a famous design object, a famous person, and how it was all combined into such a beautiful legend, this is what i think, because i have never seen documents that directly confirm veromukhina's authorship specifically related to the faceted glass, but in fact, i treat legends with great respect, i 'll tell you, i'm the rector... of the literary institute, in our estate on tverskoy boulevard for 20 years lived, in my opinion, the greatest russian writer of the 20th century, andrei platonov, there is a legend that at the end of his life, when he

there was such a difficult financial situation, he worked as a janitor, it's not true, he didn't work as a janitor, but the legend is beautiful, why deny it, i have a dream to put up a monument to platonov with a broom in the courtyard of the literary institute, let him sweep out all sorts of unborn students, that's why it seems to me that this legend with the glass, it's so charming, and... what do you think, yuri, about this? well, the legend, if someone likes it, you know, let them like it, well, there's a good song, faceted glasses, but in general, let's get back to vera mukhina, i must say that i love our podcasts for this reason, because i discover some completely unexpected people for myself, for example, when i looked at this brief information about the fate of this woman, she amazed me, she captured me, by god, because imagine that in 1889, by the way, in the same year anna akhmatova was born, in riga, in the family of a very rich industrialist. a girl was born, who, it would seem, was promised a wonderful, happy life, there are loving parents, a family, but then parents die, die, or rather, yes,

first the father, then the mother or... vice versa, first the mother, then the father, yes, she moves to feodosia, then such a dramatic event happens to her, when she was a young beautiful girl, she was sledding somewhere in the smolensk region and rolled down a mountain very unsuccessfully, a twig injured her nose so badly that she was effectively left without a nose and had to have eight plastic surgeries to restore her face, and of course, here are her girlish dreams of a happy life there about balls, dances, she loved all this, all the same from... collapsed and as i understand it, this was some kind of impetus when she turned to art, well, like in the form of life, already as if she said goodbye to her female happiness, but no, in the first world war, where she was a nurse, yes , that's where she went, she meets a wonderful man, a military surgeon, who was born into a peasant family and became a colonel in the tsarist army, and alexei andreevich, zamkovy or zamkov, i don't know how to put the stress correctly, and these two

a person who, it would seem, should have... during the revolution had to leave for paris, but with their past, with their attitude to everything, they remain in their homeland, they remain here in the soviet union, she becomes such a cult figure in soviet architecture, sculpture, culture, he becomes one of the greatest scientists and doctors, and despite the fact that everything is difficult for them there, there were moments of threat of arrest, yes there was some idea to leave the country at the end of the twenties, but still... so they remain here and even paris didn't leave her, because to paris, as we know, yes, she came together with her very statue, that is , some absolutely amazing fate, that's what's interesting, yes, why exactly we have two guests in the studio today, that on the one hand, and a worker collective farmer, yes, firstly, a worker collective farmer, you said it very well, yes, you will be a worker, you will be a collective farmer, well, that means, vera ignatyevna, is known, yes,

as a sculptor. a monumentalist, if that's the right word, yes, and as a clothing designer, then this woman had such talent, such energy, she had so much, well, probably, alexander, you will tell more, probably better about the fact that women may be more interested in everything that is connected specifically with design, but it is interesting that in the twenties the situation was already very difficult in general, that is, literally nothing to eat, no materials at all, and it was impossible to get even the most basic things, but women still want to do well. the story is not about dressing well, but about the fact that such an offer was received to present new models of soviet clothing at the 1925 exhibition in paris, it was an exhibition of decorative art, and there were different aspects of what was presented in the soviet union, it was architecture, and graphic design and fashion, in general they absolutely wanted to show everything, we amazed everyone

with our completely... vism and melnikov built a pavilion, and there they actually showed all aspects of constructivism, when the whole world celebrated, they even call the art deco style the style of 1925, because everyone either built in the national style or some kind of historicism or art deco, here we suddenly have, a beast completely unknown to science, different directions, as soviet design, architecture, art developed, in general, they offered on...

kno the simplest or was at that time - a lot that was produced, this is and for the overcoat, soldiers' these are woolen fabric, and began to make from these very simple - fabrics relying on the traditional ornament of traditional technology, to create a new soviet fashion. it got to the point that there simply was nothing, there was nothing to decorate hats with, they went to the field, collected little crusts, collected peas and straws, and wove decorations, and it was so much so that there was nothing, they had to make something out of nothing to represent the country, it's amazingly simple, they molded buttons on it from bread or from black bread... 12 years in 1937 in the same city of paris

there will be this famous exhibition and there will be a working collective farmer, in principle these are the same exhibitions, yuri, probably this is more of a question for you, what kind of exhibitions were they, who was invited there, invited, what was it? everyone was invited, everyone who could afford to buy a pavilion or rather land for a pavilion, everyone, everyone was invited, and how often did these exhibitions take place? well, i haven't studied the special history of these exhibitions, i think that, well, let's say, in thirty-seventh year there was an exhibition in paris, in new york there was one in what, thirty-ninth? yes, they took place quite often, that is , they took place quite often, again they have a tradition of these expos, they have a tradition that continues now, yes now continues, it has been going on, in my opinion, since the middle of the 19th century, here in... paris, when

japanese art appeared at one of these exhibitions, everyone suddenly became interested in it, and indeed they were scattered all over the world, in america, in europe, and somehow it apparently alternated, but i again... i didn’t specifically study history, but this is easy of course to find out, but nevertheless it turns out that in 1925 the soviet country, where the civil war had recently ended and which was in a difficult situation, nevertheless finds the means to buy this land, to build a pavilion, by the way, these women you mentioned are wonderful, lamonova, mukhina, they then went to paris to present their products, you know, i can’t say whether they went or not, because not everyone was released there, i know that...

her first projects, which were not realized, she made sketches, she made watches, for example, she made writing sets, and some items for the table, for writing sets, she supplemented them with small figurines, that is, she was still thinking as a sculptor, she had already begun to make some objects, in fact, and the earliest period of her creativity, as if her creative path, then even when she was a member of art commissions in... and the council and the leningrad fiz factory, and the leningrad fiz factory - what is that for us? the leningrad factory, she was in the management there, but in general she lived in leningrad or in moscow, in general, as far as i understand, she lived in moscow in leningrad, but in leningrad

she had two very serious positions, this is the artistic director leningrad art glass factory and accordingly, this is also her work, yes, yes, this is her work and she was in the artistic...

in the modern world, designers work exactly like this: before making some project, well , any project, not only a designer, an architect, yes, all the people involved in design, who are engaged in this activity, they first of all look, follow everything in this direction, that is , she did not have a purely creative interest, but she really wanted to make the life of every soviet person better, so that they have some normal dishes appeared, and... dear friends, we continue our conversation about vera mukhina, my guests are the founder of the moscow design museum and the director of this museum alexandra sankova and the architect, artist, yuri avakumov, well , what happens is that this woman, yes, who made these nice things that are so necessary in everyday life. and which would seem so far from any ideology in general, yes

, this woman, probably already to you then, yes, yuri, we will move on, she creates this absolutely amazing project, which has become in in general, a symbol, some kind of peak, as it seems to me, of soviet art, soviet thought, soviet spirit, flight, call it whatever you like, that's how you think it all happened, well, in general, a lot of things happen to artists thanks to luck, so it's... was, even if

you look at it with today's eyes, he really had the best project, even better than melnikov, better, better, better, shchusev generally did a rather banal thing, melnikov, yes, melnikov did it, as if too much, as they fairly came down, too much he was being original, and iofan, of course, got a great thing, and what’s more, it turned out to be fashionable, that ’s just his art deco. it turned out very beautiful, and what is art deco? you can say in a few words for dark people, it’s a style that’s very industrial on the one hand and all built on a kind of stratified movement, that’s why in this pavilion in particular this kind of thing happens all the time, a knockdown, a stepped knockdown, and the form stretches, as if it was filmed in slow motion, it’s all such a stratified, and at the same time it is a style -

a ruler in these corrugated suitcases, in clothes it manifested itself in all sorts of corrugation, plesse and so on, this is the style of such, well i don’t know, aerodynamics too , and how is it literally translated into tsar deco french art and decoration, and deco decorative, but the plot was really difficult, because we got, although we bought a large plot, it was above the highway. therefore the only thing that could be done was to make it very long, firstly, that is, it was 160 there with something meters, very narrow, literally 20 meters wide, it turned into a suite of exhibition spaces, that is, people entered from one side and exited there from the tail of this pavilion, there at the top at the culmination point, iofan started a sculpture, and he imagined a certain sculpture, a two-figure one.

that's it, this is one of the best sculptures of the 20th century, so if you compare it in its genre, in the genre of monumental sculpture, compare it, roughly speaking, with the statue of liberty, then in general it is of course... that is, it is our statue freedom, only better, well, it's different, although if i had to compare mukhina with someone, then i would rather turn to bartholde, of course, to the author of the statue of liberty, i will allow myself, so to draw such a very short connection between the classical

figure, which we know in particular in the image of the vetruvian man, leonardo dovinci, yes, where everything was calculated by him.

so in the eighteenth year, by all sorts of decrees , they switched to french measures in weights and in lengths there and so on, instead of versts we have kilometers appeared, and what is a meter, it is an absolutely abstract value, it does not come from anywhere, so it was appointed, it is in contrast to the yard, the step and so on, so we lost a lot of the human, such artists. like khmukhina, they preserved, even though the diameter was probably already calculated there in millimeters, but still they preserved the connection of the manual and through the classical proportion, with all this, because all this remained, that is, on the one hand, she painted there these classical examples of her workers and

collective farm women, on the other hand, and kept in mind where the center of the figure is in... how the length of the arms is laid out, how it fits, how many times the palm fits in the foot, and well and so on, these interconnected human modules, through them we moved on to design, where , as sasha rightly says, to ergonomics, this is this connection of the huge with the simple, for me, at least, it is all read through the connection with...

a wide discussion, yes, we were invited, we are participating in the expo, yes, that means, how is it it's usually done, we participate in an expo, a government meeting, directors of large, so to speak, enterprises are invited to it, everyone is asked the question, so what are we going to exhibit, and some say, oh, and we are there, we can send two planes and indeed chkalov, baidukov ferried planes to an exhibition in paris in 1930, someone says, and we will be there, well, i don't know, in paintings for now... someone else says: oh, and we can offer you chromium-nickel steel, and how do you do it, and we are here...