artists who worked in the russian empire, you and i will clearly understand that there is, well , there is such a quite tangible division, some artists adhere to imperial values, and above all it is the uvarov troika, the well-known, orthodoxy, autocracy, nationalities, that is, artists explain, that uvarov is such a famous monarchist, is he the minister of education?

the time when the country was essentially ruled by chancellor kochubey, who was born in the deanery, it was some descendant of that kochubey, that's right, it was a descendant of that kochubey, well, i won't be him somehow to be especially praised, he had, surprisingly enough, quite free views, he reformed it a lot in the russian empire, that is, from this point of view, of course, he was a man of advanced views, ukrainian values, as i have already said, democratization and similar things, at the same time he, of course, considered himself a part of the imperial apparatus. he was the little russian who built the general empire, and he stood higher than many of the great russians, of course, this was also reflected, but as you understand, cooperation is cooperation. i want to ask you now from kochbe back to artists, yes, to return, i want to ask about the inclusion of artists, for example, kramsky, yes, or ripen, inclusion in the process of cultural russian. so, for example

, the same kramsky, yes, the russians call him kramsky, yes, he too, this is the same st. petersburg academy of arts, he said that he was the son of a scribe and a cossack mother, yes, but he was part of this movement of pilgrims, it was, this, this is a purely russian cultural phenomenon, and they, and they are russian, or of the russian empire, of the russian empires, and they inspired them, inspired populism, isn't that right? part of the uvarov triad, a very interesting question, let 's take a closer look at all these points, if we are talking about the uvarov triad , what exactly are the approaches in this triad, if, if this is orthodoxy, then this elevated attitude towards religion, the spiritual recognition of spiritual primacy, and the fact that the religion has orthodoxy, should create a spiritual, supposedly sanctifying power in russia and the people. autocracy is the absence

of any mechanisms of constitutional monarchy and similar things, this is an opposition to any processes that resemble what was happening in france, in holland, in many other countries at that time. this is such a state, that is, the monarch is alone and he has an administration. narodnost, what is narodnost, this is the so-called official narodnost, it is the lack of distinction between little russians, belarusians and russians. such that nationalism is the triunity of the people, in detail, but the point is that the logic was , that is, artists who to one degree or another undermined the authority of orthodoxy, undermined the authority of the autocracy and undermined the authority of such an understanding of nationhood, they essentially deconstructed it, that is, once again subjected it to sums. values

​​that underlie russia, as this empire, respectively, which, in particular, conquered ukraine. if you look , that is, at the artists who distinguished the identity of ukrainians as a separate people, their corresponding visual difference, their calling them a separate nation, a separate nation, and so on, these were already artists who undermined this official understanding of official nationality. ripin, kramskyi, yaroshenko, mykola g, and very, very much many others, even the same ivan aivazovsky, who was an ethnic armenian, but he chose, for example, when he painted people in the entourage of certain of his paintings, he very often painted ukrainians, as staff or as heroes of his paintings, that is, and again distinctly ukrainian outfits, when he painted ukrainian landscapes, he emphasized it with ukrainian markers, and these were windmills, these were poplars, these were ukrainian... nobit

huts, these were the dnipro, that is, in essence, these artists, they showed that their creativity not related to abstract russian empire, and with ukraine, and this was fundamental. position, when you talk about traveling artists, this is a very interesting phenomenon, because what is the essence of traveling artists, only that they chose democratic themes, in fact, even the very term traveling exhibitions, traveling artists meant that artists chose to build a distribution system of their work, so that their exhibitions were not only in st. petersburg and moscow, as two centers, as if like empires, but that they traveled to kyiv, kharkiv, odesa, other cities, yanoslav, in particular, and this is a big a number of these cities were in ukraine, as well as exhibitions went to riga, vilnius and so on. if you go to the archives in general, and i did it and i saw it, where exhibitions of notorious artists were held, the artists themselves, for example, kostyantyn sovytskyi, the staghorn artist

, who, of course, is called a russian artist, and even in wikipedia the ukrainian calls him a russian artist, but this so far, and he actually has, as it were, not only that he... himself undermined all orthodoxy, autocracy, nationalism, consistently criticized these moments, he also demanded that his paintings , together with mobile exhibitions, travel to kyiv, kherson and odessa, there is a recorded correspondence, i refer to archival sources that prove this, that is, traveling artists, it was actually a phenomenon that, well, hardly half of the most famous peredvizhnykhs were ukrainian artists, and one of the moments of peredvizhnychestva was that... that this movement made it possible to introduce the ukrainian audience of the ukrainian audience to current art, of course, that is, to consider the peredvizhnykhs as as we were told that this is a russian imperial phenomenon, it is wrong and false,

let's talk about ilya repin, who is actually ripen, and this is where we need to prove it, because a lot of people say... wait, this overkill, actually it's overkill, yes ripa, repin or ripin, that's how i think, again, i'm always up for a debate, because this question is not strictly historical for many reasons, for example, based on the fact that ripin was obviously and this was proven by a descendant of the cossacks, and judging by his punctuation on the zaporozhian cossacks, probably zaporozhian cossacks, it is also possible to completely overthrow, well, that is, it has been proven by scientists that his family, both on his mother's and on his father's side, has lived near chuguyev for centuries, well, for several centuries, it seems that his mother's side has been since the 17th century, his father's side has been since the 18th, well, in any case, it is such a long period, and it is unlikely, and it was even before the arakshcheiv region,

that is, before they mixed the local cossack population, which had been in the hetman region for a long time, so with the russian elements that are here... were drawn up in order to control that region, thus of these contingents were formed from so-called military settlements, and rypin had the identity of a military villager, a military one, well, his memories begin there, that i am there, i have, well, in short, he was a ukrainian military villager, he had such an identity , and he actually called, as russians often say, that... in his memoirs, he calls the people who lived in nearby villages khokhlas, and that supposedly means that he did not have a ukrainian identity, in fact, he literally in the next paragraph calls merchants who came from the north with katsaps, which means that he did not even have a great rodian identity, he had a cossack

identity, or rather the identity of military settlers, and therefore the military state, which was different from the peasant state, it must be very clearly understood that often peasants from .. ordinary people who never had a relationship with the army, they were perceived by people, for a long time military people, when this matter came from generation to generation, as if people of a slightly different identity, then still such a strong ukrainian, all-universal all-ukrainian identity that would include all social groups, which now exists, and it is natural for us to feel it, then it was not even close to that in reality, and it is very necessary to clearly understand, but ilya ripin was a unique artist who matured. to his ukrainian identity, in what way, he deeply studied historical documents, historical materials, working on historical canvases, among his close friends were kostomarov and yavornytskyi, prominent ukrainian historians who wrote works in which they showed the real

picture of the russian empire, in particular the tsarina sofia, the murder of his son by ivan the terrible, these are all the shocking canvases of ripin, which are actually being deconstructed. autocracy, what does the painting ivan the terrible kills his son, it shows that the russian autocracy is crazy, it kills its children, it essentially destroys. what is, well, what does this picture show, yes, it’s the same as the burghers on the volga, horror, yes, it shows that, look, in the russian empire, on which nationality is it built, on which nationality does the autocracy and orthodoxy in the russian empire, look at this nationality, it harnessed and hauling these barges, not only is she pulling the barges, these men actually earned, maybe more than the artist, it's been proven that... people were people who got a lot of money, but they actually drank it all away. this is what, in particular,

the artist had in mind. when he writes cossacks, there are no gloomy sleepy faces, although they are frolicking, zaporozhian cossacks, but there are inspired faces, he wrote them, zaporozhian cossacks, ripen wrote for his friends, ukrainians, intellectuals, yes, there were no traces of moral decay in them on the face like it was in burlyks, this is one more thing, that is, this. it consists of such puzzles, of such facts, you understand, obvious facts, and a general picture is formed that allows us to say that this is a ukrainian artist. and regarding repin, ripin, look, repin is a russified variant through the arakcheiv oblast, through the process of russification of the permanent, cossack surname ripa. it is obvious that somewhere in chuguyev, in those regiments where they lived, they could not write rip, because it is too ukrainian version, and we are building an empire, soldiers - this is the nationality, on which the russian empire hoped for. remember surikov, he has half of the paintings about russian

valor, huge paintings of huge sizes. here, an imperial artist, by the way, surikov is the opposite, purely an imperial artist, a russian artist is patented, i wonder why russia has not yet raised him on the flag. and in russia, by the way, russian people consider ripen the most outstanding of their artists, not surikov, not vasnitsov, who are also many, it would seem. conical thing, no, no, they have ripin, because he is really, well, banal, as an artist, significantly stronger, stronger by a head, like mykola g, like many others, than all these russian patent emperors who received money from the state, vasnitsov lived in the terem, one could simply envy him there, he received so many dragonflies for the painting of the volodymyr cathedral that he could simply bathe in them, well, ripen also painted emperors, he painted nicholas ii, he ... painted alexander ii, that is, he also painted russian moneymen, well, it was the same

for money, i understand correctly that he wanted to be buried in chuguyev, that is, for him it was important, not quite so, i will now tell this story, i think that judging by his correspondence with yavornytskyi, in the last years of his life he was finishing two very important paintings for him, one is a painting that he painted 50 years, this is a procession in an oak forest. in which he showed what ukraine is like, that is, he wrote based on chuguyev's motifs of the procession of the cross in the oak forest of his childhood memories, and he had another picture that he painted at the same time, but finished much earlier, sold the procession of the cross in the kursk provinces, this is absolutely such a picture of the enslavement of russian society, there are policemen on horses, people are attacked, in short, there is a terrible, terrible social realism there, yes, and the cross entrance to the old village - it can even be said that... in some ways work , there is a priest walking by, this pilgrim is walking by, that is, it

is a democratic thing, it shows the difference between the hierarchical society of the russian empire and the democratic life of this chuguyev in ukraine, where there are none, well, in short, and the second thing is hopak, this is the last work of ripen , he worked on it for several years, and hopak, well, in my opinion, what could be more eloquent, which russian artist will write his last painting hopak, this is obviously a ukrainian dance, if only russia did not try to take it away from us, but it never did it will happen, all the same, i think, it is unlikely that the world can be fooled so stupidly, here is ripin writing hopak, and at the same time he is corresponding with yavornytskyi, and it is in fact that yavernytskyi invites him to ukraine, like others, it is an obvious thing, it is in fact the second half of the 20s, if ripin had come to ukraine, he obviously would have been forced to go to... moscow to live at that time, and well , that is what we understand, he also understood it, and

that is why he replied to yavornytskyi, he says: i still have to finish the hopak there, where i am now, although i cannot return there , well, that is, he could not say directly, it is obvious that their correspondence must have been read, that is, it seems to me that ripen was being treated as a potential leader of socialist realism in the soviet union, bitter was in charge of literature, and rippen had to be... in charge of art, he, i think, that he was a kind of role model for socialism, and it was very important to drag him into the soviet union. accordingly , yaurnytsky may have understood it too, he understood it, that is, he was. hidden in chuguyev, that is, it meant for him to return and live here, it seems to me, it seems to me, and it also meant that he could not go there, because he understood what he was risking, and therefore he named one of the hills , where he was eventually buried on the grounds of kokala, this repino, what is now called, yes, he called it chuguyeva gora, this is the territory that belonged

to finland, and then passed to russia, yes. probably, to be honest, well, judging by everything, this was before the war, when finland lost certain territories, but yes, that is, ripman chose to live in a state that had no relation to russia, in fact, he was not obliged to the soviet union, he wanted, he starved, he was cold, he had problems with his children, he had, well, he really lived a difficult life, but he chose to live this life, it is obvious that karniy chukovskyi and others, perhaps, promised him. well, i will not blame vernytsky in this sense, of course, that he will live in luxury, well, in the sense that he is definitely not cold, not hungry, one of ripen's last self-portraits in a cap, that is, he obviously worked in conditions , when the temperature was several degrees, that is, he was also an old man, an old man over 80 years old, his fingers on his right hand were already twisted,

he could no longer work, he worked with his left hand, and he was working on a painting of hopak, no for sale, of course, it was a will. and the person who is an artist, who for me is similar to ripen in his love, infatuation with ukrainianness, in ukrainian culture, is pomonenko, of course, when i look at him , i see exactly the same devotion, love simply to yours, so please tell us about pemonenko, who was he for the empire? he was, they perceived him as a great artist, or him, or is it just such a storyteller, of funny stories. he was a great artist, his works were exhibited at international exhibitions, he, one of his works by hopak, well, it is known, was bought by the louvre, now the story about this work is unknown, it seems, well, it is definitely not hanging in the louvre, i went around it and did not see it, and in general, well

, maybe somewhere it is in the funds, but andrii shkil investigated this issue, but... with that, what should be said about pemenenko? of course, he is a world-class artist, certainly, he is an artist who combined realism, impressionist motifs in his work, and at the same time gravitated towards symbolism in individual works, i.e. this is an artist who was an absolutely brilliant colorist, he grasped ethnographic motifs absolutely clearly, he was popular, it is worth knowing about pinenka that he was the son-in-law of the artist orlovsky. uh, and orlovsky , accordingly, is one of the luminaries of landscape painting of the entire russian empire, of course a ukrainian, of course he moved to kyiv, and lived in excellent relations with his son-in-law for a long time, well, in some sense it was in general an ideal situation, because at that time orlovsky wrote a bunch of works simply related to ukraine, with all this, maintaining the status of one of the leading

landscape painters of the entire russian empire, it seems that his works were worth more than the works of shishken, well, i... i may not assert, for sure, but he was absolutely the same artist of the same level, just in the soviet union about they spoke of him less , because shishken, but simply pemonenko , yes, they, the russians simply called him a russian, russian, russian artist until the end, already now they write that, well , russian-ukrainian, that’s how the russian wikipedia writes, but somehow it’s interesting , here he is for me it seems that they perceived him as a teller of funny stories about the natives, but he somehow... stumbled on these candy wrappers, on those vodka stickers, a stumbling block, yes, somehow he got into such a commercial culture, very an interesting question actually, because it shows how much of a folk artist he was, the fact that he was caught up in commercial culture, shows how much the themes he raised,

how much the images he developed were, well, you could say, easily grasped , how many. folk paintings written based on his motifs cannot be easily counted, that is, it is one thing when a painting stumbles home, it is another thing when during the 19th, late 19th, and early 20th centuries, a huge number of artisans painted themes from pemonenko, bringing these all his works before this, by the way, pymonenko was not the first in this sense, there was actually kostyantyn trutovsky, who wrote very similar things, very similar motives, you are the same great... carols, the same moments, well, that is, too was an artist who allegedly showed the ethnographic side of the life of the ukrainian people, but what did it mean in essence, as well as before him? tropin, how many works he has on ukrainian subjects, a serf, like shevchenko, well, i am already silent about shevchenko himself, about sashenko, about shtemberg, about the shevchenko circle, about ge, who wrote

about ukrainians, but even now we are talking specifically about these ethnographic moments , so about kramsky, whose painting the mermaid by gogol is also ukrainians in ukrainian embroidered dresses, it showed the identity of the ukrainian people, it showed that it cannot be reduced under one comb, allegedly. the population of the russian empire did not fail to recognize these clear national differences, and this was already a dangerous territory, well, that is to say , it must be understood, it was possible to ban the ukrainian language, it was possible to ban the imposition of restrictions on the theater there, a lot could be done, but how do you forbid an artist to paint a still life, how can you forbid an artist to paint a person in an embroidered dress, but look how the empire used it, how the empire used it... gogol style yes, what about the ukrainians, like this tribe of the singing and dancing people, this is pushkin, in

pushkin's interpretation it was, and yes, but it is such a gogol style, yes, a gogol style of his performances, he said about gogol, yes, and here, and here 's the same stumbling block, it's actually, it's actually what, it's this picture home that you're talking about, there's a woman waiting for a drunk. a man walks drunk, stumbles, and his wife with a horn or with a stick like this, with a chica stick, and she hides this stick behind her, and from this they made such cute, cute little things, where actually, and here in it seems to me that it is precisely in this place and this culture was allowed, look, we can treat it differently, i agree that there can be such an interpretation, of course, but it is an interpretation based on... the 21st century, to which everything is allowed, we can package it in any way , we can, i don't know, just show our patriotism in any range within reasonable limits, i'm talking about what

the empire took out of it, i'm not saying that it's to blame artists, this is a banal narrative, that is, it is banal what art critics did later, literary critics, film artists, everyone who , say, worked on the narrative of the empire in order to interpret all these moments in their own way, this does not mean that we laid such a meaning in them, it does not mean at all , said otherwise, that is, in in this context , we just mentioned kremsky, and i focused more on ripen, let's mention krymsky, because he is also, he is a very interesting and very revealing artist in this context, why? because it happened so, it is interesting that kramsky was supposedly born on the territory of even modern russia, but it was the city of ostrogodsk, in the city of ostrogodsk and in the uyezd of ostrogodsk, er... 90% of ukrainians lived, it was an ancient cossack city, i will say more, kramsky

was born in a village, or was it some kind of village , nova sotnia, yes, well, what is it, well, excuse me, well, to say after that that he is a russian artist, he admitted himself that he has ukrainian origins, he ripen, i apologize, now you can bake, he wrote to ripen in a letter, after ripen started writing frenchman. kokotok, you write russians with your kakhlyat blood, you write french coquettes instead of doing national art, well, that is how he wrote to him. it's obvious that it would be an insult if velikoros wrote to him, yes, you see, it's obvious that these tribesmen poke each other like that , absolutely clearly, because they were friends, they, well, that is, they did not quarrel after this appeal, they were friends in the same way, and it is obvious that what was kramsky's contribution to the deconstruction... of this whole if history with the russian empire, kremsky was a rebellion in the academy of arts against the depiction

of an academic, well, purely academic interpretation of painting, they were asked to write the pir valgali to the students, he said, i don’t want to write all these given things and production moments in order to show, he headed this this 14, this it was he who headed it. it was kremsky who was the leader, and this once again proves that it was the ukrainians who were the triggers who organized all these riots, all this resistance that was there, all these moments, that is , he, but even more interestingly, another, who founded the empire, the empire, sorry, academy, who, who founded the st. petersburg academy, who were the most influential people, well , one of the most influential first people was anton losenko, or antin losenko, you obviously understand that this is unlikely. a russian, yes, judging by the surname, he, this, this is an amazing story, because in ukraine there was a singing, uh, well, a whole organization for the selection of talented children, who were then

brought to st. petersburg. well, young, small ukrainians with wonderful voices were trained first, i think there was this school in glukhiv, and then they were purposefully sent to st. petersburg and they sang accordingly there, their questions in st. petersburg automatically became russian, and they lived in the ukrainian environment of the same singers as them, the same teachers as them, well and so on and so on, that is , obviously, well, then he broke down voice of anton losenko, he became an artist, he was sent to europe to study, and he is the author of the first ukrainian historical book. which russians call the first russian historical painting, volodymyr irognida, well, accordingly , a ukrainian wrote on a ukrainian theme, which took place in kyiv, and he became one of the first directors of the academy of arts, he wrote theoretical works that were studied there, that is, he is one of the founders of the academy of arts, levitsky, borovykovsky, martos and all other people who made a fundamental contribution to the development of the academy of arts and in the development of the genres of classicism, sentimentalism and

so on were. ethnic ukrainians, with a ukrainian, well, absolutely ukrainian background, and moreover, for example, the same borovikovsky, he was in ukraine for a very long time, accordingly, only then moving to moscow, and there again communicating in an apparently ukrainian environment, levytskyi painted st. andrew's church together with his father and other artists, once again distinguished himself as a super cool artist, was taken to the court, how can you refuse money, fame being , fame of the main artist. emperors and empresses, to claim that they were centurions or to write a cossack foreman and to write , they automatically became russian artists, carrying the ukrainian baroque tradition, being brought up in ukrainian, well, in the ukrainian artistic environment, the teachers in them were obviously in ukrainian

culture, well, that is, these are obvious things to borovykom. the first paintings are baroque, levitsky - st. andrew's church, this is obviously also the influence of baroque and rocaco, these styles, that is, well, that is, it is a part of ukrainian culture, after a person moves to another country, to another, even within one even state, or the russian empire, or does it automatically become a representative of another culture, it seems to me ridiculous to even think in this direction, or a frenchman, picasso became a frenchman, perhaps or they remained, what actually at that time. moving to st. petersburg, it did not mean the same as the moving of our artists to moscow and leningrad already in soviet times, or now, even more so, then the situation with opportunities with universities, academies and so on was completely different. and i want to ask about the two students of pomonenko, about burlyuk and about malevich, malevich is a colossal topic, and we

will talk about it separately... a great example, i really like the story with burlyuk, because he is a man with absolute also ukrainian cossack identity, he mentioned, accordingly , he absolutely never renounced it, he was a real cultural leader of his time, he is a person who launched the futurist movement in the empire, but even before that, long before that, he was also... a zionist , and he, in fact, worked with another artist from the kherson province, from teraspol, mykhailo larionov, and another one who is appropriated by the russians, although i consider him to be absolutely part of ukrainian culture as well, because, well, even because of burlyuk it was in the kherson province, they had a whole community of people who were interested in archaic culture, interested in primitives, and primitives were

folk culture that...surrounded, it was ukrainian folk culture, and you know, and they not only were they interested in primitives , they also adopted them, and burliuk is one of the first brave artists in the world who, even in the 1900s, until 1910, he imitated folk paintings, well, he imitated, he was inspired by folk paintings cult picture and even made certain collages, he has several interesting paintings, there are ukrainians, for example, or cossack mamai, these are paintings that can be viewed both horizontally and vertically, let's say, that is, they again play with national icons, ukrainian, this is ukrainian, none it had nothing to do with russian culture at all, it must be clearly understood, and burlyuk accordingly, yes, he had a certain period in the territory of modern russia, let’s say in those capitals, but i will repeat once again, these were centers, there was a very powerful ukrainian community