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Perov wanderer description of the picture. Composition based on the painting by Vasily Perov “The Wanderer

Vasily Perov. Wanderer.
1870. Oil on canvas.
Tretyakov Gallery, Moscow, Russia.

In the iconostasis the best people Russians” includes not only writers and other representatives of the Russian intelligentsia, but also portraits of peasants. Art created a dream of an ideal social order, where there would be neither poor nor rich, and people-brothers would work for the benefit of all. The best of Perov's peasant portrait types is The Wanderer. In his appearance there is a sense of dignity, a kind of aristocracy, wise old age.

Soon after completing work on Perov, he turns to the image of a wanderer. Being, unlike monks, in the world, the wanderer moves away from it internally, rising above its vanity and passions. The burden is heavy, few people can do it and are chosen not so much by their own will, but by the providence of God. And therefore, pilgrimage is not vagrancy, but a way of life that initially presupposes poverty stemming from the instructions of Christ to his disciples, when setting off on a journey, “shoe in simple shoes and do not wear two clothes” (Mark 6, 9). But poverty is not an end in itself, but a means of humility, since “nothing humbles so much,” wrote John of the Ladder, “as being in poverty and living on alms.” Humility itself is nothing but self-denial of one's own will and "impoverishment in relation to evil," Ignatius Brianchaninov argued. It is precisely such people who are an example of the poor in spirit, and wandering itself is the visible embodiment of spiritual poverty, which has absorbed, in the words of John of the Ladder, “an impudent disposition, unknown wisdom, hidden life ... the desire for humiliation, the desire for narrowness, the path to Divine lust , the abundance of love, the renunciation of vanity, the silence of depth.

Raise so complex and highly hot topic then, in the atmosphere of the growing process of dechurching public consciousness, turned out to be difficult.

Perov in the interpretation of the image, despite its some inconsistency, nevertheless repelled from Christian messages. His hero, in contact with the world, reveals the steadfastness of his lofty thoughts and not only does not shy away from his poverty, but, on the contrary, abides in it with dignity and independence. True, this independence is even somewhat exaggerated. He turned out to be a very practical person, stocking up for all occasions: a knapsack, and a large tin mug, and even an umbrella from rain and heat. As they say, I carry everything with me. But this one is purely worldly wisdom pragmatics contradicts the very essence of wandering, which presupposes precisely the cutting off of "vain cares", in the captivity of which Perov's hero turned out to be. This discrepancy was reflected in the plastic interpretation of his figure. The artist actively embosses the plane: either with a raised collar, or with sharp folds of clothing on the chest, or with sharp changes in volume on the sleeves. The plane of the canvas, as it were, is opened up, broken open by the artist, and therefore the eye does not slide smoothly and softly over it, but all the time clings to plastic forms that correlate with each other in a somewhat chaotic, vain rhythm.

The piercing look of the wanderer is full of wisdom, in which there is still more life experience than the “silence of the depths”. There is not even a hint of "an abundance of love and renunciation of vanity" in this look. Instead, a harsh rebuke. But after all, in fact, a wanderer, in essence, is not a judge, because, as John of the Ladder wrote, "condemning those who defile, he himself will be defiled." It seems that in his understanding of wandering, Perov relied more on his own feelings, and not on church dogmas. But for all that, he connected the very image of the wanderer with a person standing at an extraordinary moral height, from which both the nature of evil and its scale are revealed. That is why the Perovsky hero gazes with a look that seems to pierce the soul, appealing to human shame and conscience. That is why the figure of the old man is placed in a space filled with darkness, with total absence any natural light source. And yet the light is actively present in the picture. He, like a sculptor, forms, models volumes, overcoming the onslaught of both the gloomy background and the shadows crawling from below. And therefore, we can say that the figure of the wanderer himself is like a pillar of light breaking out of shadow captivity.

Focused exclusively on the figure of the wanderer, the light becomes brighter and sharper as it ascends. With a whitening light, he walked over the gray beard, over the sunken cheeks, deep hollows of the eye sockets, high, wrinkled forehead, dark hair with gray hair, illuminating the whole appearance of the old man with some special, almost mystical radiance. At the same time, there are no reflexes, no light reflection in the background. The surrounding space does not perceive the light coming from the figure of the wanderer, and the sharper this contrast between them, the more irreconcilable is the opposition of the darkness that filled everything with itself, and the light, the source and bearer of which is the wanderer himself.

This picture was of great importance for the master - and not only artistic, but also purely personal. The deeper he penetrated in the process of working on it into the world of wandering, the more he became stronger in his faith, the more spiritual support his art acquired. To a large extent, hence the search for people, themes and models, communication with which enriches not so much intellectually as spiritually.

Vasily Grigorievich Perov (1833-1882) lived a short and personally difficult life.

His works of different genres characterized the search for the artist, reflecting the maturity of the craftsmanship. They show a lot contemporary master life. He does not close himself in his workshop, but shows people his thoughts. Perov did a lot to create a new pictorial language, a description of whose paintings will be given below. Therefore, his painting has not lost its relevance to this day. From the canvases of V.G. Perova Time speaks to us.

"Wanderer", 1859

This picture of Perov was written by a student, and she was not awarded any medals. However, the choice of a topic that was not accepted at that time is indicative. This work combines the artist's characteristic interests: to a portrait and to a simple destitute person, which will mark his entire creative path in the future.

The young twenty-five-year-old artist introduced the viewer to an old man who had endured a lot in life, who saw more sorrows than joys. And now a very old man, without a roof over his head, walks, begging for Christ's sake. However, it is full of dignity and tranquility, which not everyone has.

"organ grinder"

This painting by Perov was painted in Paris in 1863. In her we see not a lumpen, but a relatively prosperous person by Russian standards, cleanly and neatly dressed, who is forced to work on the street. He cannot find any other means of existence. However, the character of the French people is comparatively easy.

The Parisian reads many newspapers, willingly argues political topics, eats only in cafes, not at home, spends a lot of time walking along the boulevards and in theaters or just staring at the goods displayed on the streets, admires beautiful women. So the organ grinder, who is now on a break in work, will never miss the passing monsieur or madam, whom he will surely say a flowery compliment, and, having earned money, he will go to his favorite cafe to sit with a cup of coffee and play chess. Everything is not the same as in Russia. No wonder V. Perov asked to return home, where it was clearer to him than a simple person lives.

"Guitarist Bobbyl", 1865

Perov's painting in this genre scene says a lot to the Russian people, even one hundred and fifty years after its creation. Before us is a lonely man.

He has no family. He drowns his bitter grief in a glass of wine, plucking the strings of the guitar, his only companion. The empty room is cold (the guitarist is sitting in outdoor clothes), empty (we can see only a chair and part of the table), not well maintained and not cleaned, cigarette butts are lying on the floor. Hair and beard have not seen a comb for a long time. But the man doesn't care. He has given up on himself for a long time and lives as it turns out. Who will help him, middle-aged, to find a job and gain human image? Nobody. Nobody cares about him. Hopelessness emanates from this picture. But it's true, that's what matters.

Realism

Having acted as a pioneer in this field of painting, Perov, whose paintings are news and a discovery for Russian society, continues to develop the theme of a small, dependent person. This is evidenced by Perov's first painting, "Seeing the Dead", created after his return. On a cloudy winter day, under the clouds that have moved into the sky, a sleigh with a coffin is slowly moving. They are run by a peasant woman, on both sides of the father's coffin sit a boy and a girl. A dog is running around. All. No one else escorts a person to last way. And no one needs this. Perov, whose paintings show all the homelessness and humiliation of human existence, exhibited them at the exhibitions of the Association of the Wanderers, where they resonated with the souls of the audience.

genre scenes

Everyday, light everyday scenes also interested the master. These include "Birdcatcher" (1870), "Fisherman" (1871), "Botanist" (1874), "Dovecote" (1874), "Hunters at Rest" (1871). Let us dwell on the latter, since it is simply impossible to describe all the paintings of Perov that you want.

Three hunters had a good day wandering through the fields, overgrown with bushes, in which field game and hares hide. They are dressed rather tattered, but they have excellent guns, but this is such a fashion among hunters. Nearby lies prey, which shows that not killing is the main thing in hunting, but excitement, tracking. The narrator enthusiastically tells about one episode to two listeners. He gesticulates, his eyes burn, his speech flows in a stream. Three lucky hunters, shown with a touch of humor, evoke sympathy.

Portraits of Perov

This is an unconditional achievement of the master in his work. late period. It is impossible to list everything, but his main achievements are portraits of I.S. Turgenev, A.N. Ostrovsky, F.M. Dostoevsky, V.I. Dahl, M.P. Pogodin, merchant I.S. Kamynin. The wife of Fyodor Mikhailovich greatly appreciated the portrait of her husband, believing that Perov caught the moment when F.M. Dostoevsky was in a creative state when he had some kind of idea.

Perov's painting "Christ in the Garden of Gethsemane"

Personal losses, loss of the first wife and older children of V.G. Perov endured it, splashed it directly onto the canvas. Before us is a man crushed by a tragedy that he cannot comprehend.

It can only be accepted by submitting to a higher will and not grumble. Questions that arise with the grievous loss of loved ones and serious illnesses, and Perov at that time was already seriously and hopelessly ill, for what and why this happened, they never find an answer. There is only one thing left - to endure and not complain, because only He will understand and give, if necessary, consolation. People cannot ease the pain in such tragedies, they continue to live their own lives. everyday life without delving deeply into someone else's pain. The picture is dark, but the dawn rises in the distance, giving hope for change.

Vasily Perov, whose paintings are relevant to this day in many respects, was not afraid to go off the beaten path and change. His students A.P. Ryabushkin, A.S. Arkhipov became famous Russian artists who always remembered their teacher as a person with a big heart.

Main Features famous painting Vasily Perov "Wanderer", written in 1870, are whole line essential characteristics of the simple Russian peasant, who, according to that idealized idea about the host of "the best Russian people", is also included in this cohort. At the same time, he shares this place with many people who represent the highest strata of the social system of that time, namely writers, poets, aristocrats.

However, Perov's "Wanderer" also has its own unique features, which were taken in the first

A line from the biblical theme, according to which vagrancy is an undoubted condition, not at all unworthy, but of such a way of life, the main idea of which is renunciation from the sinful world and the search for truth with the help of such an attitude to life.

Despite the fact that the hero of Perov’s painting, in contact with the sinful world, reveals really good steadfastness of his lofty thoughts, this person is very practical, because he has in his inventory both an umbrella from the rain, and a knapsack, as well as a tin mug, and this also means the fact that this person is in close contact, including with this sinful world.

The surface of the picture is very actively embossed, due to which the image of the wanderer takes on a peculiar look, and the main characteristics of which are sharp folds of clothes on the chest, a slightly raised collar and many other special characteristics.

The very plane of the canvas seems to break open and this gives rise to the effect of randomness and vanity of rhythm, which is also complemented by the very perception of the picture by the viewer, because a person’s gaze does not stop at any one, specific detail, but all the time slides over the drawing, as if clinging to plastic forms of the image of the Wanderer.

The hero of Perov's painting relies more on his own wisdom, on his rich life experience rather than some kind of neighborly love or something like that. The Stranger looks at the viewer as if with some reproach, at the same time being in some kind of his own, special inner world, but without losing touch with this world. He seems to peer into the very soul of a person, and this is more than clearly felt due to the fact that he is placed in a gloomy atmosphere devoid of bright colors.

For Perov himself, this picture was a kind of way to strengthen his own faith in himself, his aspirations and conviction in his own convictions. In addition, it was she who gave him the opportunity to also strengthen his spiritual faith, and to a greater extent due to the fact that the image of the Wanderer was, in essence, a composite image of those people from the peasant environment with whom the artist happened to communicate.

Russian artists often turned to the image of a pilgrim, a pilgrim and a wanderer, as they used to call a person walking on a pilgrimage, visiting holy places, and living by alms. Hiking through the holy places of Russia, even to the Holy Sepulcher, was a fairly common occurrence. tsarist Russia, especially among the peasant (black) people.

Wanderer

....Wanderers and aliens on earth
(Heb. 11:13)

Where are you going, tell me.
A wanderer with a staff in his hand? -
By the wonderful grace of the Lord
I'm going to a better country.
Through mountains and valleys
Through the steppes and fields
Through forests and through plains
I'm going home, friends.

Wanderer, what is your hope
In your native country?
- Snow-white clothes
And the crown is all golden.
There are living springs
And heavenly flowers.
I follow Jesus
Through the burning sands.

Fear and terror are unfamiliar
Is it on your way?
- Oh, God's legions
Protect me everywhere.
Jesus Christ is with me.
He will guide me
Steady path
Straight, straight to heaven.

So take me with you
Where is a wonderful country.
- Yes, my friend, come with me -
Here is my hand.
Not far from home
And a desirable country.
Faith is pure, alive
We are leading you there.

Ukrainian pilgrims in Palestine.
Sokolov Petr Petrovich (1821-1899). Paper, colored wax pencils, 43.8x31.
Private collection

to holy places
Popov L.V. 1911

Wanderer.
Vasily Grigorievich Perov. 1859
Saratov

Pilgrims. On a pilgrimage.
Vasily Grigorievich Perov. 1867 Fig. 31.6x47, 3.
State Russian Museum

Holy fool, surrounded by wanderers.
Vasily Grigorievich Perov. 1872 Fig. 15.8x22.

Wayfarer.
Perov Vasily Grigorievich. 1873 Paper, graphite pencil, 15.4x13.5.
State Tretyakov Gallery

Wanderer.
Vasily Grigorievich Perov. 1869 Oil on canvas, 48x40.
Lugansk

Wanderer welcome.
Perov Vasily Grigorievich. 1874. Oil on canvas. 93x78.
artcyclopedia.ru

Wanderer in the field.
Vasily Grigorievich Perov. 1879 Oil on canvas, 63x94
Nizhny Novgorod

Wanderer.
Vasily Grigorievich Perov. 1870 Oil on canvas, 88x54.
State Tretyakov Gallery

Pilgrim.
Perov Vasily Grigorievich. Canvas, oil.
Tashkent

Wayfarer.
Bronnikov Fedor Andreevich (1827 - 1902). 1869 Oil on canvas. 70x57.
Memorial Museum-estate of the artist N.A. Yaroshenko
http://www.art-catalog.ru/picture.php?id_picture=11315

Future monk.
Nikolai Petrovich Bogdanov-Belsky 1889
In 1889, for the painting "The Future Monk", the author received a large silver medal and the title of class artist.

After graduating from the icon-painting workshop of the Trinity-Sergius Lavra, S. Rachinsky identified Bogdanov-Belsky as Moscow School painting, sculpture and architecture. He went through the landscape class, making great strides. For sketches from nature, he often received the first numbers. His teachers were famous Russian artists: V. D. Polenov, V. E. Makovsky and I. M. Pryanishnikov.
The time has come to write the final (diploma) picture for the title of "class artist". He loved the landscape, but from within something pointed to something else.
With such uncertain feelings, he leaves for the village of Tatevo and meets with Rachinsky. Rachinsky, in a conversation with a young man, prompts him to the topic "The Future Monk." The future artist was so fascinated by the theme, the picture, that before the end of the work he fainted.
"Inok" is finished. The joy of the children, the environment, Rachinsky himself knew no bounds. The picture depicts a meeting of a wanderer with a little boy. There is a conversation.
The boy's eyes, his soul are inflamed from the conversation. Invisible horizons of being open before his mind's eye. Thin, dreamy, with an open look, looking to the future - this was the author of the picture himself.
Success with others, children in public school gave great inspiration to the author. The days of departure to Moscow, to the School, were approaching, but the artist suddenly became depressed. What am I going to take, he thought, because everyone expects a landscape from me.
The day of departure has come. The “future monk” was loaded into a sleigh. Parting glance of S. A. Rachinsky, who came out to see the porch of the house. The horse moved. Last words dear teacher in farewell: "Good luck, Nicolas!" The sleigh creaked in the cold and easily rushed along the snow-covered road ... My heart was heavy from the minutes of parting with my dear teacher, and some embarrassment, bitterness burned my heart. Why, where and what do I take with me? He was thrown into a fever. And the sleigh rushed into the unknown inevitably. The future artist on the road thought: “How nice it would be if the picture died, got lost. Doesn't that happen?" ... And the picture was lost. It took a long time for the cabman to return, yet they found her and brought her safely to the place.
As the artist himself recalled: “Well, the mess began at school!”
"The Future Monk" - the work that he submitted for the title of "class artist", was a huge success beyond all expectations. It was approved by the examiners and bought from the exhibition by Kozma Terentyevich Soldatenkov, the largest collector of works of art, and then ceded to the Empress Maria Feodorovna. Immediately, the artist was ordered two more repetitions of the painting.
In January 1891, the painting was presented in a traveling exhibition in Kyiv.
After visiting the exhibition, the artist M. V. Nesterov writes in a letter to his relatives: “... but Vasnetsov agrees that Bogdanov-Belsky will salt me at exhibitions with his success for a long time to come, but this should not be embarrassed ...”
From now on, the artist begins to live at his own expense. At that time he was 19 years old. bibliotekar.ru

Wanderers.
Kryzhitsky Konstantin Yakovlevich (1858-1911). Canvas, oil.
National Gallery of the Komi Republic

Road in the rye.
Myasoedov Grigory Grigorievich. 1881 Oil on canvas 65x145.

In the landscape "Road in the Rye" (1881), the simplicity and expressiveness of the motif is striking: the figure of a lone wanderer receding towards the horizon in the midst of an endless rye field. The artist, as it were, opens up the possibility of a more generalized, monumental solution to a genre painting.

contemplator.
Ivan Nikolaevich Kramskoy. 1876 Oil on canvas, 85x58.
Kyiv Museum of Russian Art

Fyodor Dostoevsky in his novel The Brothers Karamazov used this picture of Kramskoy to describe one of the characters - Smerdyakov: “The painter Kramskoy has one wonderful picture called "The Contemplator": a forest is depicted in winter, and in the forest, on the road, in a tattered caftan and bast shoes, stands alone, in the deepest solitude, a peasant wandered, stands and seemed to think, but he does not think, but "contemplates" something ". If you pushed him, he would shudder and look at you, as if waking up, but not understanding anything. True, he would wake up now, and if they asked him what he was standing and thinking about, he would probably not remember anything, but on the other hand, he would probably harbor in himself the impression that he was under during his contemplation. These impressions are dear to him, and he probably accumulates them, inconspicuously and without even realizing - for what and why, of course, he also does not know: maybe, suddenly, having accumulated impressions over many years, he will give up everything and go to Jerusalem, to wander and be saved , or maybe the native village will suddenly burn down, or maybe both will happen together. There are enough contemplatives among the people.

Wanderer.
V.A. Tropinin. 1840s Canvas, oil.
Ulyanovsk regional Art Museum
nearyou.ru

Wanderer.
Shilovsky Konstantin Stepanovich. 1880s "Album of drawings by K. Shilovsky". Drawing. Paper, pencil, ink, pen. 29.7x41.8; 10.9x7.6
Inv. number: G-I 1472

Rest en route.
Burkhardt Fedor Karlovich (1854 - about 1919). 1889 Paper, ink, pen, 25.3 x 18.2 cm (clear).
Bottom left: “Ө. Burkhardt 89.".
Private collection
http://auction-rusenamel.ru/gallery?mode=product&product_id=2082600

Travelers on vacation.
Vinogradov Sergey Arsenievich (1869-1938). 1895 Canvas; oil. 54x61.4.
Inv. number: Zh 191
Tambov Regional State Budgetary Institution of Culture "Tambov Regional Art Gallery"

In the works of the majority of artists to. XIX - early. In the 20th century, in particular the young Wanderers, the socio-critical “classical” genre is being replaced by a more contemplative and poetic view of the world. The noticeable shift towards the landscape that has taken place in Russian painting informs the “landscape coloring” and everyday picture. Typical of these trends is an early painting by S.A. Vinogradov "Wanderers on vacation" (1895), in which, while maintaining genre basis the artist transfers the main accents from narrative and external action to the picturesque and emotional perception nature, mood.

On foreground sitting on logs on the gray earth, six wanderers in a row. To the left are two old men gray hair and beards, with knapsacks behind the shoulders, in dark clothes (on the seated one on the left with a dark purple tint, sitting on the right, in a cap - brown). On the right side are four old women: on the left, in dark clothes, she covered part of her face with her hand, on the right, two in light clothes, on the right, a woman in a reddish skirt. Their figures are sketched. Behind the figures spring landscape: on the left side there is a gray field with two plowmen going into the distance, on the left there are three thin trees with a yellowish crown; on the right side among the pale greenery and tall dark trees is a building. Light blue sky with white clouds. State catalog of the museum fund of Russia

Beggars.
Vinogradov Sergey Arsenievich (1869-1938). 1899

Wayfarer.
Mikhail Vasilievich Nesterov. 1921 Oil on canvas. 81x92.
State Tretyakov Gallery
Inv. number: ZhS-1243
http://www.art-catalog.ru/picture.php?id_picture=1081

Wayfarer.
Mikhail Vasilievich Nesterov. 1921 Oil on canvas. 82x106.
Tver regional Art Gallery

Wayfarer.
Mikhail Vasilievich Nesterov. Sketch. 1921 Paper on cardboard, tempera, graphite pencil. 14.3x18.6.
Collection of I. V. Shreter, granddaughter of M. V. Nesterov, during her lifetime.
Signed at the bottom right with a brush: M. Nesterov. On the back, the author's inscription in ink pen: Ann Vasilyevna Baksheeva / as a keepsake from Mikh Nesterov / 1921 on the day of August 9 / Sketch for the paintings "Putnik".
In October 2013 put up for auction by Magnum Ars.

The sketch was presented to A.V. Baksheeva, daughter of V.A. Baksheev, a friend of Nesterov’s studies at MUZhVZ, during his life at his dacha in the village of Dubki, near the Zhavoronka platform of the Brest (Belarusian) railway. Returning in 1920 from Armavir to Moscow, Nesterov found himself without an apartment and a workshop, his paintings, library, archive and property were looted. Within three summer seasons in 1921-1923 he lived in Dubki, worked in a workshop provided by Baksheev and tried creatively to overcome the feeling of catastrophe caused by the events of 1917. Work on the painting “The Wayfarer” was reflected in a letter to the author’s friend A.A. Turygin from Dubkov dated August 10, 1921: “I am writing to you, Alexander Andreevich, from the village where I moved for a week and a half and have already begun to work, write sketches and a picture” Wayfarer. Its content is as follows: on a summer evening among the fields along the road, a Traveler and a peasant are walking and talking, a woman who has met greets the Traveler with a low bow ”(Nesterov M.V. Correspondence. M., 1988. P. 276). In the autumn of the same year, Nesterov informed Turygin from Moscow: “I work a lot, I made a repetition of Putnik” (ibid., p. 277). Repetition did not mean copying. Currently, there are several versions of the "Traveler", oil paintings, with the figure of Christ in the form of a wanderer, wandering along Russian roads. They change characters familiar from Nesterov's earlier paintings, and Nesterov's typically Russian landscapes. It is felt that the theme of the wandering mournful Christ deeply worried the author. In all his paintings, he strove to create the image of the "Russian Christ", not canceled new government and giving comfort and salvation to believing people. The presented sketch, previously unknown, gives us an idea of the initial version of the "Traveler" theme, and contains the main figurative and compositional aspects of the theme. The work has a museum value. Expertise by E.M. Zhukova http://magnumars.ru/lot/putnik

Beyond the Volga (Wanderer).

http://www.art-catalog.ru/picture.php?id_picture=15065

Beyond the Volga (Wanderer).
Mikhail Vasilievich Nesterov. 1922 Oil on canvas. 83x104.
National Art Museum of the Republic of Belarus

Boundless Volga expanses. Evening hour. Two people walk along the pink path of the shore: a girl in a beautiful patterned scarf and a dark blue sundress, and a man in a white monastic robe with a staff in his hand. The ascetic-severe face and the whole appearance of the wanderer radiate intense spiritual energy. It looks like his words have just come out. The girl listens attentively with her head bowed. A moment of concentrated silence, "stopped" by the artist, is performed deep meaning. Many wanderers then walked around Rus', its holy places, quenching their spiritual thirst. Nesterov creates the image of a person who lives with lofty thoughts, who is able to captivate others with his faith. The tension of feelings felt by the viewer is also transmitted to nature: the branches of young birches flutter anxiously in the wind, the sky seems to harbor a premonition of a thunderstorm. The drawing that forms the basis of the composition is magnificent. The range of colors is amazingly beautiful, in which many subtle shades of gray, blue, green, pink, golden colors are woven into by the hand of the master. National Art Museum of the Republic of Belarus.

Wayfarers. Beyond the Volga.
M.V. Nesterov. Signed and dated 1922 Oil on canvas, 81.5x107.5.
Sold at auction at MacDougall's for $3 million.
http://www.macdougallauction.com/Indexx0613.asp?id=19&lx=a

pinnacle late creativity M.V. Nesterova became a series of paintings about Christ the Traveler, in which the spiritual and folk merge into one in the “earthly” face of the wandering Savior. The artist worked on the cycle for about three years, creating different variants interpretations, almost all of them are in private collections. From known variants three were painted in 1921 (two of them are in the Tretyakov Gallery in Moscow and the Tver Art Gallery), one in 1936 (is in a private collection). In June 2013, MacDougall's was put up for sale from one private collection Europe previously unknown sketch from 1922. The model for the image of Christ was the priest from Armavir Leonid Fedorovich Dmitrievsky, whom Nesterov met in 1918, after leaving the post-revolutionary hungry Moscow. Returning to the capital, Nesterov set about creating a series about the traveler-Christ, and he hid paintings from the atheistic authorities behind the high back of the sofa, which is the reason for their size.

In 1923, Mikhail Nesterov wrote: “Who knows, if we hadn’t come face to face with the events of 1917, I probably would have tried to clarify the face of the “Russian” Christ even more, now I have to dwell on these tasks and, according to apparently to leave them forever."

In the homeland of Aksakov.
Mikhail Vasilievich Nesterov. 1923 Oil on canvas.
Museum of Russian Art, Yerevan

Stranger on the river bank.
Mikhail Vasilievich Nesterov. 1922

Wanderer Anton.
M.V. Nesterov. Etude. 1896 Canvas on cardboard, oil. 27 x 21 cm
Bashkir State Art Museum. M.V. Nesterova

In 1897, Nesterov completed work on another work of the “Sergius cycle” - the triptych “Works of St. Sergius of Radonezh” (TG), and the year before, in the spring of 1896, in search of nature for him, he made trips to monasteries near Moscow, located near the Trinity - Sergius Lavra. Among the “people of God” who interested him was the wanderer Anton. Nesterov saw him in one of his favorite places - in the Khotkovsky Monastery - and there he painted a picturesque portrait of him from nature, which he intended to include in a triptych. But it happened that "Anton the Wanderer" was introduced into another work, extremely important in the context of Nesterov's spiritual searches of the 1900s - into the painting "Holy Rus'" (1901-1905, Russian Museum). According to the artist, with this picture he wanted to sum up his "best thoughts, the best part of himself." Criticism also called "Holy Rus'" Nesterov's artistic failure, the crisis of his worldview, and Leo Tolstoy - "a memorial service for Russian Orthodoxy." The second title of the picture allows you to understand the essence of this dilemma - “Come to Me, all who are suffering and burdened, and I will give you rest”: according to the gospel legend, Christ addressed the people with these words during the Sermon on the Mount. That is, the essence of Nesterov's picture lies in the general reconciliation on the basis of the Christian idea. But it was precisely this humanistic appeal that was rejected by his compatriots: they, the “children” of the first Russian revolution, were not disposed to passive contemplation, but to a decisive struggle (we recall that in 1914 Nesterov’s painting “In Rus' (The Soul of the People )”, repeating the spiritual concept of “Holy Rus'”). For us, this controversy only increases the significance of the etude "Anton the Wanderer". Not to mention the fact that this study is most directly projected onto the history and place of "Holy Rus'" in Nesterov's work, the image of Anton is an acutely psychological image, connected with the history of Russian wandering, and it is precisely because of his high figurativeness that he rises above the level of only an etude , becoming an independent, complete work, demonstrating, moreover, the features of Nesterov's portrait work of the 1900s. Bashkir State Museum. M. Nesterova

Wanderer.
Klavdy Vasilyevich Lebedev (1852-1916)

Night. Wanderer.
I. Goryushkin-Sorokopudov. Canvas, oil. 75.5 x 160.5.
State Art Museum Altai Territory, Barnaul

Wanderer. From the series “Rus. Russian types.
Kustodiev Boris Mikhailovich 1920 Watercolor on paper 27 x 33.
Museum-apartment of I. I. Brodsky
Saint Petersburg

pilgrims
MM. Germashev (Bubello). Postcard

To the Trinity.
Korovin Sergey Alekseevich (1858 - 1908). 1902 Oil on canvas. 75.5x90.5.
State Tretyakov Gallery

Vladimirka.
Isaac Levitan. 1892 Oil on canvas. 79×123.
State Tretyakov Gallery, Moscow

For several sessions from nature famous artist depicted the Vladimir tract, along which prisoners were once led to Siberia. By the time the picture was painted, the prisoners were already being transported by train. Gloomy sky and desert evoke sad memory about the prisoners in shackles, dejectedly once wandering along this road. But on the horizon, a brighter strip of sky and a white church are visible, which inspires a ray of hope. The tiny figure of a lonely wanderer at the roadside icon, as it were, minimizes the human presence in this plot and makes you think about the meaning of life.

Sketches and sketches for the painting by I.E. Repin "The procession in the Kursk province"

Pilgrim.
1880 Watercolor on paper
Private collection

Pilgrim. The pointed end of a pilgrim's staff. 1881
Study for the painting "The procession in the Kursk province" (1881-1883), located in the State Tretyakov Gallery
Paper, watercolor, graphite pencil. 30.6x22.8 cm
State Tretyakov Gallery
Inv. number: 768
Receipt: Gift of the author in 1896

Wanderer. Etude
1881 30x17.
Penza Regional Art Gallery. K. A. Savitsky

Wanderer.
Surikov Vasily Ivanovich (1848 - 1916). 1885 Oil on canvas. 45 x 33 cm.
Study for the painting "Boyar Morozova"
State Tretyakov Gallery

The image of a wanderer in arts and crafts

Wanderer.

Shchekotikhina-Pototskaya Alexandra Vasilievna. 1916 Gray paper on cardboard, graphite pencil, gouache. 30.8 x 23.5.
State Central theater museum named after A.A. Bakhrushin
State catalog of the museum fund of Russia

Wanderer.
Sketch men's suit to the opera "Rogneda", which tells about one of the episodes of the history Kievan Rus. Moscow, Moscow Opera S.I. Zimin.
Shchekotikhina-Pototskaya Alexandra Vasilievna. 1916 Paper on cardboard, graphite pencil, gouache. 20.7 x 14.1; 22 x 15.7 (substrate).
State Central Theater Museum named after A.A. Bakhrushin
State catalog of the museum fund of Russia

Wanderer. Gypsum, polychrome painting.
8.3 x 3.2 x 3.4

Wanderer. Porcelain, overglaze painting.
7.7 x 3.2 x 2.6.

Wanderer. Faience, underglaze painting
8.7 x 3.3 x 2.7

Wanderer. Porcelain; overglaze painting
7.8 x 3.4 x 2.9

Sculptures "Wanderer"

Manufacturer:
NEKIN production sample

Place of creation: Moscow region, Gzhel region (?)

Creation period: 1930s (?)

Location: FGBUK " All-Russian Museum arts and crafts and folk art»

Russian artists often turned to the image of a pilgrim, a pilgrim and a wanderer, as they used to call a person walking on a pilgrimage to holy places. Hiking to the holy places of Russia, even to the Holy Sepulcher, was a fairly common occurrence in tsarist Russia, especially among the peasant (black) people.

This selection contains reproductions of paintings by Russian artists, mainly devoted to wandering as a phenomenon that was more a way of life. Such pilgrims-wanderers left their homes for a long time or did not have them at all, went to holy places, lived on alms, and spent the night where necessary.

Wanderer

....Wanderers and aliens on earth
(Heb. 11:13)

Wanderer, what is your hope
In your native country?
- Snow-white clothes
And the crown is all golden.
There are living springs
And heavenly flowers.
I follow Jesus
Through the burning sands.

Fear and terror are unfamiliar
Is it on your way?
- Oh, God's legions
Protect me everywhere.
Jesus Christ is with me.
He will guide me
Steady path
Straight, straight to heaven.

So take me with you
Where is a wonderful country.
- Yes, my friend, come with me -
Here is my hand.
Not far from home
And a desirable country.
Faith is pure, alive
We are leading you there.

Poor wanderers.
P. P. Sokolov (1821-1899). 1872
State Russian Museum

Wanderer.
Vasily Grigorievich Perov. 1859
Saratov

Holy fool, surrounded by wanderers.
Vasily Grigorievich Perov. 1872 Fig. 15.8x22.

Wayfarer.
Perov Vasily Grigorievich. 1873 Paper, graphite pencil, 15.4x13.5.
State Tretyakov Gallery

Wanderer.
Vasily Grigorievich Perov. 1869 Oil on canvas, 48x40.
Lugansk

Wanderer welcome.
Perov Vasily Grigorievich. 1874. Oil on canvas. 93x78.
artcyclopedia.ru

Wanderer in the field.
Vasily Grigorievich Perov. 1879 Oil on canvas, 63x94
Nizhny Novgorod

Wanderer.
Vasily Grigorievich Perov. 1870 Oil on canvas, 88x54.
State Tretyakov Gallery

Wayfarer.
Bronnikov Fedor Andreevich (1827 - 1902). 1869 Oil on canvas. 70x57.
Memorial Museum-estate of the artist N.A. Yaroshenko
http://www.art-catalog.ru/picture.php?id_picture=11315

Conversation with a poor old man.
Railyan Foma Rodionovich (1870-1930). Paper, ink. Size: 20.4x28.3.
Private collection

Wanderer.
Nikolai Andreevich Koshelev. 1867 Oil on canvas.
Yaroslavl Art Museum

Future monk.
Nikolai Petrovich Bogdanov-Belsky 1889
In 1889, for the painting "The Future Monk", the author received a large silver medal and the title of class artist.

After graduating from the icon-painting workshop of the Trinity-Sergius Lavra, S. Rachinsky assigned Bogdanov-Belsky to the Moscow School of Painting, Sculpture and Architecture. He went through the landscape class, making great strides. For sketches from nature, he often received the first numbers. His teachers were famous Russian artists: V. D. Polenov, V. E. Makovsky and I. M. Pryanishnikov.
The time has come to write the final (diploma) picture for the title of "class artist". He loved the landscape, but from within something pointed to something else.
With such uncertain feelings, he leaves for the village of Tatevo and meets with Rachinsky. Rachinsky, in a conversation with a young man, prompts him to the topic "The Future Monk." The future artist was so fascinated by the theme, the picture, that before the end of the work he fainted.
"Inok" is finished. The joy of the children, the environment, Rachinsky himself knew no bounds. The picture depicts a meeting of a wanderer with a little boy. There is a conversation.
The boy's eyes, his soul are inflamed from the conversation. Invisible horizons of being open before his mind's eye. Thin, dreamy, with an open look, looking to the future - this was the author of the picture himself.
The success of others, children in the folk school gave great inspiration to the author. The days of departure to Moscow, to the School, were approaching, but the artist suddenly became depressed. What am I going to take, he thought, because everyone expects a landscape from me.
The day of departure has come. The “future monk” was loaded into a sleigh. Parting glance of S. A. Rachinsky, who came out to see the porch of the house. The horse moved. The last words of the dear teacher at parting: "Good luck, Nicolas!" The sleigh creaked in the cold and easily rushed along the snow-covered road ... My heart was heavy from the minutes of parting with my dear teacher, and some embarrassment, bitterness burned my heart. Why, where and what do I take with me? He was thrown into a fever. And the sleigh rushed into the unknown inevitably. The future artist on the road thought: “How nice it would be if the picture died, got lost. Doesn't that happen?" ... And the picture was lost. It took a long time for the cabman to return, yet they found her and brought her safely to the place.
As the artist himself recalled: “Well, the mess began at school!”
"The Future Monk" - the work that he submitted for the title of "class artist", was a huge success beyond all expectations. It was approved by the examiners and bought from the exhibition by Kozma Terentyevich Soldatenkov, the largest collector of works of art, and then ceded to the Empress Maria Feodorovna. Immediately, the artist was ordered two more repetitions of the painting.
In January 1891, the painting was presented in a traveling exhibition in Kyiv.
After visiting the exhibition, the artist M. V. Nesterov writes in a letter to his relatives: “... but Vasnetsov agrees that Bogdanov-Belsky will salt me at exhibitions with his success for a long time to come, but this should not be embarrassed ...”
From now on, the artist begins to live at his own expense. At that time he was 19 years old. bibliotekar.ru

Wanderers.
Kryzhitsky Konstantin Yakovlevich (1858-1911). Canvas, oil.
National Gallery of the Komi Republic

Road in the rye.
Myasoedov Grigory Grigorievich. 1881 Oil on canvas 65x145.

contemplator.
Ivan Nikolaevich Kramskoy. 1876 Oil on canvas, 85x58.
Kyiv Museum of Russian Art

Fyodor Dostoevsky, in his novel The Brothers Karamazov, used this picture of Kramskoy to describe one of the characters - Smerdyakov: “The painter Kramskoy has one wonderful picture called “The Contemplator”: a forest is depicted in winter, and in the forest, on the road, in a tattered caftan and a little peasant stands alone in the deepest solitude, stands and seems to be thinking, but he does not think, but “contemplates” something. If you pushed him, he would shudder and look at you, as if waking up, but not understanding anything. True, he would wake up now, and if they asked him what he was standing and thinking about, he would probably not remember anything, but on the other hand, he would probably harbor in himself the impression that he was under during his contemplation. These impressions are dear to him, and he probably accumulates them, inconspicuously and without even realizing - for what and why, of course, he also does not know: maybe, suddenly, having accumulated impressions over many years, he will give up everything and go to Jerusalem, to wander and be saved , or maybe the native village will suddenly burn down, or maybe both will happen together. There are enough contemplatives among the people.

Wanderer.
V.A. Tropinin. 1840s Canvas, oil.
Ulyanovsk Regional Art Museum
nearyou.ru

Wanderer.
Shilovsky Konstantin Stepanovich. 1880s "Album of drawings by K. Shilovsky". Drawing. Paper, pencil, ink, pen. 29.7x41.8; 10.9x7.6
Inv. number: G-I 1472

Travelers on vacation.
Vinogradov Sergey Arsenievich (1869-1938). 1895 Canvas; oil. 54x61.4.
Inv. number: Zh 191
Tambov Regional State Budgetary Institution of Culture "Tambov Regional Art Gallery"

In the works of the majority of artists to. XIX - early. In the 20th century, in particular the young Wanderers, the socio-critical “classical” genre is being replaced by a more contemplative and poetic view of the world. The noticeable shift towards the landscape that has taken place in Russian painting gives a “landscape coloring” to the everyday picture. Typical of these trends is an early painting by S.A. Vinogradov's "Wanderers on Vacation" (1895), in which, while maintaining the genre basis, the artist transfers the main accents from narrative and external action to the picturesque and emotional perception of nature, mood.

In the foreground, six wanderers are sitting on logs on the gray ground, in a row. On the left are two old men with gray hair and beards, with knapsacks over their shoulders, in dark clothes (on the one sitting on the left with a dark purple tint, sitting on the right, in a cap - brown). On the right side are four old women: on the left, in dark clothes, she covered part of her face with her hand, on the right, two in light clothes, on the right, a woman in a reddish skirt. Their figures are sketched. Behind the figures is a spring landscape: on the left side a gray field stretching into the distance with two plowmen, on the left three thin trees with a yellowish crown; on the right side among the pale greenery and tall dark trees is a building. Light blue sky with white clouds. State catalog of the museum fund of Russia

Beggars. Pskov-Caves Monastery.
Vinogradov Sergey Arsenievich (1870 - 1938). 1928 Oil on canvas.
Location unknown

Beggars.
Vinogradov Sergey Arsenievich (1869-1938). 1899

To the reverend.
Vinogradov Sergey Arsenievich. 1910 Oil on canvas. 47x66.
State Vladimir-Suzdal Historical, Architectural and Art Museum-Reserve

Wayfarer.
Mikhail Vasilievich Nesterov. 1921 Oil on canvas. 81x92.
State Tretyakov Gallery
Inv. number: ZhS-1243
http://www.art-catalog.ru/picture.php?id_picture=1081

Wayfarer.
Mikhail Vasilievich Nesterov. 1921 Oil on canvas. 82x106.
Tver Regional Art Gallery

The sketch was presented to A.V. Baksheeva, daughter of V.A. Baksheev, a friend of Nesterov’s studies at MUZhVZ, during his life at his dacha in the village of Dubki, near the Zhavoronka platform of the Brest (Belarusian) railway. Returning in 1920 from Armavir to Moscow, Nesterov found himself without an apartment and a workshop, his paintings, library, archive and property were looted. During the three summer seasons in 1921-1923, he lived in Dubki, worked in a workshop provided by Baksheev and tried creatively to overcome the sense of catastrophe caused by the events of 1917. Work on the painting “The Wayfarer” was reflected in a letter to the author’s friend A.A. Turygin from Dubkov dated August 10, 1921: “I am writing to you, Alexander Andreevich, from the village where I moved for a week and a half and have already begun to work, write sketches and a picture” Wayfarer. Its content is as follows: on a summer evening among the fields along the road, a Traveler and a peasant are walking and talking, a woman who has met greets the Traveler with a low bow ”(Nesterov M.V. Correspondence. M., 1988. P. 276). In the autumn of the same year, Nesterov informed Turygin from Moscow: “I work a lot, I made a repetition of Putnik” (ibid., p. 277). Repetition did not mean copying. Currently, there are several versions of the "Traveler", oil paintings, with the figure of Christ in the form of a wanderer, wandering along Russian roads. They change characters familiar from Nesterov's earlier paintings, and Nesterov's typically Russian landscapes. It is felt that the theme of the wandering mournful Christ deeply worried the author. In all his paintings, he strove to create the image of the “Russian Christ”, who was not canceled by the new government and who gives consolation and salvation to believers. The presented sketch, previously unknown, gives us an idea of the initial version of the "Traveler" theme, and contains the main figurative and compositional aspects of the theme. The work has a museum value. Expertise by E.M. Zhukova http://magnumars.ru/lot/putnik

Beyond the Volga (Wanderer).

http://www.art-catalog.ru/picture.php?id_picture=15065

Beyond the Volga (Wanderer).
Mikhail Vasilievich Nesterov. 1922 Oil on canvas. 83x104.
National Art Museum of the Republic of Belarus

Boundless Volga expanses. Evening hour. Two people walk along the pink path of the shore: a girl in a beautiful patterned scarf and a dark blue sundress, and a man in a white monastic robe with a staff in his hand. The ascetic-severe face and the whole appearance of the wanderer radiate intense spiritual energy. It looks like his words have just come out. The girl listens attentively with her head bowed. The moment of concentrated silence, "stopped" by the artist, is full of deep meaning. Many wanderers then walked around Rus', its holy places, quenching their spiritual thirst. Nesterov creates the image of a person who lives with lofty thoughts, who is able to captivate others with his faith. The tension of feelings felt by the viewer is also transmitted to nature: the branches of young birches flutter anxiously in the wind, the sky seems to harbor a premonition of a thunderstorm. The drawing that forms the basis of the composition is magnificent. The range of colors is amazingly beautiful, in which many subtle shades of gray, blue, green, pink, golden colors are woven into by the hand of the master. National Art Museum of the Republic of Belarus.

Wayfarers. Beyond the Volga.
M.V. Nesterov. Signed and dated 1922. Oil on canvas, 81.5x107.5. Sold at auction at MacDougall's for $3 million.
http://www.macdougallauction.com/Indexx0613.asp?id=19&lx=a

The pinnacle of M.V. Nesterov’s late work was a series of paintings about Christ the Wanderer, in which the spiritual and the folk merge into one in the “earthly” face of the wandering Savior. The artist worked on the cycle for about three years, creating different interpretations, almost all of which are in private collections. Of the known versions, three were painted in 1921 (two of them are in the Tretyakov Gallery in Moscow and the Tver Art Gallery), one in 1936 (is in a private collection). In June 2013, at MacDougall's auction, a previously unknown sketch of 1922 was put up for sale from a private collection in Europe. The model for the image of Christ was Leonid Fedorovich Dmitrievsky, a priest from Armavir, whom Nesterov met in 1918, after leaving post-revolutionary hungry Moscow. to the capital, Nesterov set about creating a series about the traveler-Christ, and he hid paintings from the atheistic authorities behind the high back of the sofa, which is the reason for their size.

In the homeland of Aksakov.
Mikhail Vasilievich Nesterov. 1923 Oil on canvas.
Museum of Russian Art, Yerevan

Stranger on the river bank.
Mikhail Vasilievich Nesterov. 1922

Wanderer Anton.
M.V. Nesterov. Etude. 1896 Canvas on cardboard, oil. 27 x 21 cm
Bashkir State Art Museum. M.V. Nesterova

Wanderer.
Klavdy Vasilyevich Lebedev (1852-1916)

Night. Wanderer.
I. Goryushkin-Sorokopudov. Canvas, oil. 75.5 x 160.5.
State Art Museum of the Altai Territory, Barnaul

Wanderer. From the series “Rus. Russian types.
Kustodiev Boris Mikhailovich 1920 Watercolor on paper 27 x 33.
Museum-apartment of I. I. Brodsky
Saint Petersburg

Vladimirka.
Isaac Levitan. 1892 Oil on canvas. 79×123.
State Tretyakov Gallery, Moscow

For several sessions from nature, the famous artist depicted the Vladimir tract, along which prisoners were once led to Siberia. By the time the picture was painted, the prisoners were already being transported by train. The gloomy sky and the desert evoke a sad memory of the prisoners in shackles, who once sadly wandered along this road. But on the horizon, a brighter strip of sky and a white church are visible, which inspires a ray of hope. The tiny figure of a lonely wanderer at the roadside icon, as it were, minimizes the human presence in this plot and makes you think about the meaning of life.

Two strangers.
Makovsky, Vladimir Egorovich (1846 - 1920). 1885 Wood, oil, 16x12.
State Museum fine arts Republic of Tatarstan, Kazan
Inv. number: Zh-576

Wandering Prayers. Etude.
Repin, Ilya Efimovich (1844 - 1930). 1878 Oil on canvas. 73x54.
State Tretyakov Gallery, Moscow

At the icon. Bogomoltsy.
Savrasov, Alexei Kondratievich (1830 - 1897). Late 1870s - early 1880s. Cardboard, oil. 40x30.
Nizhny Tagil Municipal Museum of Fine Arts, Sverdlovsk Region

Sketches and sketches for the painting by I.E. Repin "Religious procession in the Kursk province"

Pilgrim.
1880 Watercolor on paper
Private collection

Wanderer. Etude
1881 30x17.
Penza Regional Art Gallery. K. A. Savitsky

The image of a wanderer for a painting by V.I. Surikov "Boyarynya Morozova"

In search of the image of a wanderer for the painting "Boyar Morozova", Surikov turned directly to the types, peeped in real life. As the daughter of P.M. Tretyakova Vera Pavlovna Siloti: “In the mid-80s, the Surikovs hired a hut in Mytishchi for the summer. This village is famous for its central water supply for supplying the whole of Moscow with drinking water. whole year, especially in summer, uninterrupted lines of pilgrims heading to the Khotkovsky monastery, then to the Trinity-Sergius Lavra; they came from all over Russia, first to bow to the relics of many Moscow saints, and in the Lavra - to the relics of St. Sergius. The variety of types was endless. We immediately guessed that Surikov planned to paint a picture with a crowd, folk historical picture. The village of Mytishchi was separated from the village of Tarasovka along the same highway, only 10 versts closer to Moscow. Surikov wrote, choking, of all the wanderers who passed by his hut, interesting to him by type. When it was getting dark, he would often "whip away" on foot, as he put it, ten versts and suddenly appear at our place in Kurakino. We drank tea on the balcony, chatted lively and interestingly; then they would go into the house, where they would put me, a sinner, at the pianoforte in the living room, and for a long time. Vasily Ivanovich always quietly and sonorously asked: "Bach, Bach, please" ... By the autumn, as the days were getting shorter, Vasily Ivanovich came more and more often to "listen to Bach" and, for a friendly conversation, take a break from the tiring day of writing by passer-by wanderers, with whom he did not sometimes there were no misunderstandings of any kind."

It is believed that the features of Surikov himself were reflected in the face of the wanderer. The researcher of the work of Vasily Ivanovich V.S. Kemenov noted that the image of the Wanderer in the painting "Boyar Morozova" is a slightly modified self-portrait of the artist.

Wanderer.
IN AND. Surikov.
Fragment of the painting "Boyar Morozova". 1887
The wanderer with a staff was painted from a migrant whom Surikov met on the way to Sukhobuzimskoye.

Wanderer's hand with a staff.
IN AND. Surikov. 1884-1887 Oil on canvas, 25 x 34.7.
Study for the painting "Boyar Morozova" 1887, located in the State Tretyakov Gallery.
Signed at the top right: V. Surikov.
Acquired in 1927 from E. S. Karenzina.
The work is recorded in the inventory book of the State Tretyakov Gallery under the number 25580.
http://www.tez-rus.net/ViewGood21656.html

Wanderer.
I.E. Repin. Paper, Italian pencil. 41 x 33 cm.
Sketch for the painting "Boyar Morozova"
State Tretyakov Gallery, Moscow

Wanderer.
Surikov Vasily Ivanovich (1848 - 1916). 1885 Oil on canvas. 45 x 33 cm.

State Tretyakov Gallery

Wanderer.
Vasily Ivanovich Surikov. 1886 Paper, watercolor, graphite pencil, 33 x 24.
Study for the painting "Boyar Morozova"
State Tretyakov Gallery
Acquired in 1940 from K.V. Ignatieva

The image of a wanderer in arts and crafts

Wanderer.

Shchekotikhina-Pototskaya Alexandra Vasilievna. 1916 Gray paper on cardboard, graphite pencil, gouache. 30.8 x 23.5.
State Central Theater Museum named after A.A. Bakhrushin
State catalog of the museum fund of Russia

Wanderer.
A sketch of a male costume for the opera "Rogneda", which tells about one of the episodes in the history of Kievan Rus. Moscow, Moscow Opera S.I. Zimin.
Shchekotikhina-Pototskaya Alexandra Vasilievna. 1916 Paper on cardboard, graphite pencil, gouache. 20.7 x 14.1; 22 x 15.7 (substrate).
State Central Theater Museum named after A.A. Bakhrushin
State catalog of the museum fund of Russia