This cottage is very reminiscent of a nineteenth-century country estate in its architecture. The undoubted decoration of the main facade of the house are the large windows. On the ground floor the window is arched and opens into the living room. The entrance to the house is preceded by a wide staircase. The railing of the stairs and porch is made in the same solution as the balustrade of the second floor balcony, and a powerful column complements this solution. The finishing materials of the external walls are standard, the color scheme is classic pastel shades. The basement of the cottage is finished natural stone, the roof is covered bitumen shingles. In the left wing of the house there is a spacious garage for two cars and a technical room with access to the opposite side. The foundation of the house is formed by a monolithic reinforced concrete slab. External walls have a variation in material design: they can be used here aerated concrete blocks or brick. In this regard, the cottage falls into the category of “brick and aerated concrete houses.”
The layout of the house is modern and comfortable. On the ground floor, in addition to the garage, there is a guest area, bedroom, kitchen and dining room. There is a spacious dressing room in the hallway. From the hallway there is a free exit to the distribution hall of the house. To the left of the hall there is a toilet, laundry room, shower room and bedroom. Directly from the hall, a wide doorway leads into the kitchen, which is connected to the dining room into a single space. From the dining room there is a door to a wide terrace overlooking the garden. A wonderful place where on summer evenings you can gather the whole family for tea. From the hall to the right there is a passage into a bright and cozy living room with a fireplace. The dining room and living room are double-height, visually they are separated by a staircase leading to the second floor. On the second floor there are three bedrooms, two bathrooms and a spacious hall overlooking the living room. From the second floor hall there is access to the balcony, which is a decoration of the main facade. The attic according to the project is not in use. This project provides a mirror image of the house and its floor plan. This will greatly facilitate the work of choosing a place to build a cottage on your site, taking into account its lighting and distance from neighboring buildings.
House-Museum of I.S. Turgenev, occupying a 19th-century wooden mansion on Ostozhenka 37 in Moscow, was closed for restoration. It will last 650 days.On October 1, the results of the competition to select a contractor will be announced. The initial cost of the contract is 91.5 million rubles. According to the tender documentation, the bidder must have a license to carry out activities to preserve cultural heritage sites, as well as experience in performing such work.
Details are posted on the website of the capital's Department of Competition Policy. So, on the territory of the memorial house with an area of 514 square meters, work will be carried out to strengthen the foundations and restore the facades, interiors, walls, windows and door fillings. Floors and internal floors must be replaced engineering systems, including electrical, water and heat supply systems, drainage, heating, ventilation, air conditioning, automation, dispatching, burglar alarm, video surveillance, radio, fire alarm and fire alerts. In addition, the territory of the house will be improved, and the entire museum will be adapted for the needs of groups of citizens with limited mobility.
According to the museum’s website: “The next stage will be the scientific restoration of the famous city estate, the reconstruction of the memorial rooms of I.S. Turgenev and the opening of a new permanent exhibition."
How realistic is it today to restore authentic interiors from the Turgenev era? What work of their predecessors can today's restorers complete? What do the Turgenev House and Muscovites risk losing in case of illiterate restoration? Answered these questions for us architect-restorer Igor Andreevich Kiselev, who led the restoration work in the 1970s.
“Once, walking along Metrostroevskaya Street at that time (mid-1970s) past Turgenev’s house, I suddenly caught in the window signs of restoration work, connected, as always in such cases, with the removal of plaster in the house. In one of the rooms, paper wallpaper was clearly visible through the windows. As it turned out later, this was Varvara Petrovna’s room. It was clear that none of the restorers would work on wallpaper (it was not accepted then, however, as it is now, 40 years later). Therefore, I did the only thing that was possible under those conditions. I ran to the nearest grocery store, bought two bottles of Stolichnaya and asked the workers to put up scaffolding in this room, which was done with lightning speed. Neither before nor after have I encountered such inspired working enthusiasm at domestic restoration sites.
Thus, quite by accident, I had the chance to examine the walls and ceiling in Varvara Petrovna’s room. A few months later, also by accident, I had to manage this object in the Mosrestavratsiya trust, because... The previous author quit. There was an opportunity to explore the monument in its entirety. However, by that time the situation had changed most decisively. The restoration work was carried out by a military unit (!), sailors (!), who received the command to strip all the walls down to the wood, which they did with the official zeal that was common in the army at that time. But the guys who served in the army were, after all, our relatives, Russians, so in many places there were gaps that had not been knocked down - square meters of plaster untouched by the sailors, which made it possible to find wallpaper in almost all the rooms of the house. Now this circumstance seems to me simply unheard of luck, if we compare, for example, with the situation in the Herzen Museum.
By the way, in the Herzen Museum the process of direct liquidation of historical artistic interiors Tajiks were engaged. These guys left only a few centimeters of wallpaper. These tiny remains (in addition to the respectable conscientiousness and pedantry of our guest workers) testify to the highly artistic level of interior decoration in the house of Yakovlev, one of the richest people Russian Empire. And also about the insufficient professional training of domestic restoration personnel. Everything was stripped in the most decisive and uncompromising manner and, of course, safely thrown away along with the construction waste.
In the mid-1970s, restoration of the monument was carried out in Turgenev’s house with complete change stylistic appearance of facades and interiors with a focus on the memorial period. In 2009, the museum reopened after a facelift.
Turgenev's house on Ostozhenka is perhaps the only museum in Moscow (in the country?) today, the interiors of which are known for certain and can be reproduced in each room in its historically accurate completeness. Including Varvara Petrovna's room (of course, not in the living room), as well as Ivan Sergeevich's office, which, without a doubt, was in the mezzanine, and it is even known in which room (it is difficult to imagine greater expositional nonsense than the office in the mezzanine). All elements: decoration of walls and ceilings, stoves, floors, windows, door and window fittings, etc. - were found during the previous restoration in in full. Everything that could not be accomplished last time (the customer was the Sports Committee) is quite accessible for scientifically based restoration today. Of greatest interest are, perhaps, the wallpaper and paintings of walls and ceilings during the memorial period. Plaster and cornices in interiors appeared only in 1870; before that, everything was covered with decorative “paper.”
I would like to warn specialists against the mistakes made by restorers in other Moscow literary museums - the Aksakov House, the Herzen House, where, as a result of restoration work, not only were the original interiors not restored, but the original traces and evidence that were preserved at the time the restoration work began were cleaned out and thrown away. Millions of rubles were allocated and used for the destruction of the most valuable memorial objects.
There is a common misconception that I have faced my entire life. As a rule, the museum, and with it the restorer and the exhibition artist, develop enviable creative activity by the time the time comes for finishing works on the monument, i.e. after the civil works are completed and the walls are plastered. At this time it is too late to do anything. Design for finishing works is the first stage of research and design on a monument, which follows preliminary work. The fact is that probing and opening in structures can only be carried out after examining the surface of the walls, because during constructive openings, all finishing layers of previous eras are removed from the surface of walls and ceilings, including the most valuable - the original ones. This is a special stage of field research, which, in particular, includes color clearing, but should not be limited to this. There may be several layers of plaster, each with its own colorful or pictorial layers. There may be many layers of wallpaper under and on the plaster. Wallpaper and murals can be hidden under staircase structures or late septa. Exactly at finishing materials Traces of lost staircases, fireplaces, transverse walls and much more are discovered, and all this disappears forever along with the knocked down plaster. At the same stage, i.e. at the very beginning of field research, wallpaper from the desired memorial period is discovered. After which they must be accepted design solutions for upcoming finishing work: recreation of wallpaper, fragmentary or complete restoration, or display of original wallpaper in fragments, as was done in the house of the Muravyov-Apostles. Can be combined options, for example: partial or complete recreation with windows into the past and with the display of originals. In my Philadelphia museum, original Russian paper wallpapers are exhibited together with reconstructions, because... original samples almost never give a real idea of the original characteristics of the colors.
Starting to do all this at the production stage of finishing work is an activity devoid of meaning. There is even less sense in trying to cover the walls with wallpaper made by analogy at a time when genuine memorial interior decoration remains on the walls, unnoticed by anyone.
Replacing floors in any log house cannot be said to be a professionally successful undertaking. First of all, the floors in any log house are connections, a membrane that protects the spatial structure of the structure from movement, deformation and collapse. The floor beams cut into the frame during construction "into the frying pan", so remove them and insert them into place, as is done in stone houses, is absolutely impossible. This is the first.
Now let's see what will happen when we remove the old floors.
1.Genuine designs and material i.e. living tissue memorial: beams, cranial beam, roll.
2. On the ceilings - original wallpaper: paper, different colors of the ceilings in each room - in harmonious accordance with the color of the walls; borders adjacent to the ceilings, painted cornices (TrompeL"oeil), their supporting and crowning parts; brush paintings of rosettes self made using the grisaille technique; friezes painted to imitate marble are the same trompe l’oeil, so beloved in any turn of Russian classicism.
Preservation of original material in monuments is the main task of any restoration. If the concept design work this principle is not laid down, let's stop calling it the word "restoration" - maybe reconstruction, maybe major renovation- anything, but not restoration. Today, reliable and inexpensive methods for preserving wood have been developed. At the same time, “breaking it down and making it again twice as good as before” is a favorite restoration method of working with both wooden and stone historical buildings. A good engineer and a good technologist are very important components of any restoration process. Everyone knows that a good dentist always strives to use any means to preserve natural teeth. I remember how Vladimir Ignatievich Yakubeni told the engineers in the house on Sofiyskaya Embankment: “I don’t need an engineer to disassemble and then do it again. I can do it perfectly well myself. I need an engineer to preserve the monument.” And he saved it - with the help of engineers who well understood the goals and objectives of the restoration process.
Every restoration and every restorer, working with a monument, always removes something. Often due to ignorance, but most often due to technical condition, which is easily recognized as unsatisfactory. In addition, it is a process of irresponsible exploitation... So, over time, less and less of both the monument and the culture remain in a cultural monument.
The opening in the wall between the choir and the hall can become one of the most interesting solutions in the restoration project of Turgenev's house. The fact is that this opening is usually always open, and only the baluster of the fence is a conditional barrier between these two spaces. Choirs, as a rule, are non-residential spaces. In our case, the room was used for orchestra members once or twice a year, the rest of the time it served as a full-fledged living room (tutor? guest room?) with developed space and full decorative finishing. The opening in the hall, the noisiest and most daily used front room in the house, was most likely glazed and opened only on special occasions when the orchestra was located there. There should also be curtains on the choir side, because... the mezzanine room is a personal space, and the hall is a public space. The opening between the choir and the hall was blocked vertical bars in 1870.
We will wait with impatience and hope for the results of a competent restoration and a new convincing exhibition. Of course, public discussion of restoration proposals and the Thematic and Exhibition Plan seems useful and even simply necessary. It is best to track project proposals step by step, from preliminary work to working documentation.
The project of I.S. Turgenev’s house can greatly benefit from its public consideration at public councils different levels. Today we can clearly say that the corps of ministerial experts did not live up to expectations, if not completely discredited themselves.
In our native country there is still no professional restoration criticism of completed projects, such as literary or artistic criticism. Debriefing, i.e. public discussion of the work carried out: scientific research, historical and archival research, engineering and technological proposals, as well as the problem of adapting the monument - with an objective and friendly analysis of all scientific, design and production process. From time to time, the press contains chronicles and reports about the completion of the restoration of a particular monument. As a rule, enthusiastic. The Association of Restorers has a habit of announcing even those projects that have not yet begun, but I have never observed a detailed analytical discussion of the project among professionals, its advantages, innovations, or disadvantages. Maybe Turgenev’s house is the very museum object from which a new tradition will begin?
Dossier:
Igor Andreevich Kiselev - architect-restorer, author of a number of reference books on restoration practice, creator and curator of the museum " Paper wallpaper in the context of Russian culture" (USA, Pennsylvania). Author of projects for the restoration of historical and cultural monuments in Russia and the USA. During measurements and surveys of the demolished historical buildings of Moscow, he collected unique material, which he later used to create methods for dating existing and restoring lost elements of architectural monuments.
House at Ostozhenka, 37 was built in 1819. The wooden Empire-style mansion with a six-column portico, mezzanines, and seven windows along the façade represented typical sample Moscow post-fire buildings.
There are many famous families among the residents of the Ostozhensky house. In 1826, the Aksakov family settled here; then N.V. Levashov - participant Patriotic War 1812, a man of Pushkin’s circle and a close acquaintance of the poet himself; Colonel F.I. Tolstoy, nicknamed "The American"; Privy Councilor Major General A.V. Bogdanovsky, whose portrait adorns the famous military gallery of J. Doe in the Winter Palace of St. Petersburg.
On September 16, 1840, V.P. moved into the house. Turgeneva is the mother of the Russian classic.
Ivan Sergeevich, having completed his education at the University of Berlin, first appeared on Ostozhenka in May 1841. Subsequently, he often visited here on his way from St. Petersburg to the family estate of Spassky and back; spent two springs in the Ostozhen house - in 1844 and 1845. After the death of his mother in November 1850, Turgenev lived here for more than two months, dealing with inheritance matters. His many friends and acquaintances came to this house - prominent representatives of social, literary and theatrical circles in Moscow: T.N. Granovsky, M.S. Shchepkin, V.P. Botkin, the Bakunin brothers, Aksakovs and others. In his rooms on the mezzanine he worked on articles for the journal Otechestvennye zapiski; here the plans for “Bezhin Meadows” and the poems “Andrey” and “Conversation” were born. Many literary scholars believe that Turgenev described the house and the events that took place in it in the story “Mumu”. The prototypes of the characters in the work were real people who lived in the house of the “lady” - Varvara Petrovna. In 1851, Turgenev left the house forever and never returned here.
At the end of the 19th century. A shelter named after Grand Duke Sergei Alexandrovich was opened in a house on Ostozhenka. After October revolution interior layout home has been significantly modified for the device communal apartments. The house was occupied only in 1976, after renovation it housed a sports organization.
In April 2007, according to the Decree of the Moscow Government, the Ostozhensky mansion was transferred to the State Museum of A.S. Pushkin with the aim of creating a museum of I.S. Turgenev. On October 9, 2009, the new museum opened with the exhibition “Moscow. Ostozhenka. Turgenev."
A noble nest is a coveted home, a standard and everything for a modern Russian person living outside the city. And if a customer who wants to build an estate house is inspired by literary and historical flavor, then for the performing architect such a project becomes an important test of knowledge of the history of architecture and the ability to use the stylistic means of the language of classical architecture.
The turbulent history of the 20th century has left us with few original examples of Russian estate architecture. And if in Europe historical palazzos and chateaus have been preserved in much greater numbers and are still in the use of private individuals, then in Russia the surviving estates and palaces belong to the state and operate as museums.
Not just a living room, but a state hall, palace-like in scale and style. The furniture zones this entire space, creating a cozy separate space around the fireplace. The chandelier with a diameter of 4.5 meters was made according to the author’s sketches in Austria. Furniture, Provasi
A fragment of the inside of the main staircase, stylized as an Italian courtyard. Painting by Boris Voskoboynikov. According to the author of the project, space staircase was quite complex: it is the core of the building, and they made it so that it represents an independent value, a separate interest
Architect Harold Mosolov and his team had a difficult task ahead of them. It was necessary to create not just an interior in a large house built on an almost palatial scale classic style, but to recreate the atmosphere as if with early XIX This house has been inhabited for centuries. Let’s imagine that over time it changed organically and has survived to this day as a residential building with several cultural layers, adequate to modern requirements, but with a carefully preserved atmosphere of the noble past.
View of the living room and second floor gallery from the windows
View from the hallway to the main staircase
Fragment of the main staircase. The spans are decorated with marble mosaics according to sketches by the artist Savva Arkhipov
Second floor hall, finished in Egyptian style, is a gallery overlooking the living room
It must be said that there were all the prerequisites for the construction of just such a sprawling estate. The house is not located in a cramped suburban village, but in the center of a large, development-free area, with meadows and forest, an estate, not a plot. The first floor is built according to the classical model: in the center there is a large hall, on both sides of which there are enfilades of rooms symmetrically located.
Office in traditional english style. The furniture is made of mahogany according to original drawings in England, in the workshop of Andy Thornton
The staircase ends on the second floor. Symmetrically located living quarters diverge from it
Perhaps the only deviation from the main classical manor aesthetics in this project is the master bedroom, decorated in the later Art Deco style. Ceiling painting by artist Savva Arkhipov. Furniture, Baker
The representative part of the building is a high, two-story living room and a hall with a grand staircase; they give the impression of a palace. The architect did not strive to decorate all the rooms in the same style, and this is historically justified, since in the original estates of the 19th century there were “thematic” rooms, decorated on a certain exotic theme, for example, Chinese. Again, the task of the architect and designer is in this case complex: it is necessary to maintain a fine line between stylization and eclecticism, not to turn the interior into Disneyland. Harold Mosolov and the team developed a concept in which individual restrained stylized rooms are “strung” onto a single stylistic core - the Russian Empire style. Therefore, a living room in a classical style is adjacent to a hall in an Egyptian style, and the inside of the majestic staircase in the center of the building is an Italian courtyard with windows overlooking the garden.
The bathrooms, of which there are more than ten in the house, well illustrate the concept of the project: modern functional objects, in this case plumbing, are naturally and vividly combined with the historical surroundings. Painting by Savva Arkhipov
The billiard room and bar in the basement occupy a space that can accommodate an entire restaurant. Antique Russian billiard table, 1861. Painting with scenes of English horse racing - artist Boris Voskoboynikov. The furniture was made according to the architect's sketches in the Andy Thornton workshop
It is worth noting the architect’s inspired and challenging work with light - natural and artificial. The location and size of the windows in relation to the rooms are calculated in such a way as to create a play of light and a feeling of openness to the surrounding nature; fortunately, the landscapes outside are not spoiled by huge fences and unnecessary buildings. And in the windowless basement, an impressive-sized bar with a billiard room was created, and the lighting problem was solved in the most elegant way. The ceiling, completely flooded with electric light, imitates an open atrium. sun rays. By the way, a real atrium, or, more precisely, a dome, is also present in the house, and in clear weather the sun illuminates the entire monumental staircase opening.
Swimming pool on the ground floor with large windows overlooking the forest. Large light panels provide an imitation of daylight in the evening. Traditional Italian techniques were used when laying the mosaic. The author of the mosaic is artist Olga Tsvetkova
The task of creating not just an interior, but an interior with history, corresponds to master bedroom- the owner's.
The architect suggested that at the beginning of the 20th century, during the Art Nouveau era, a new generation of home owners decided to renovate separate rooms in the spirit of the times. Therefore, the bedroom of the owners of the house in memory of the hypothetical great-grandmother and great-grandfather is decorated in the Art Deco style. The furniture chosen was not antique from that period, but modern, stylized, so that the interior would correspond to the spirit of our time and would not reek of a museum.
Particularly difficult was the selection household appliances and electronics. One that would not introduce dissonance into the interior with ultra-modern design, but would not be overly stylized either. Therefore, the author decided to settle on a variant of discreet, functional high-tech, which, with its refined, almost transparent lines, delicately introduced a modern theme into the decor, but not breaking the overall style.
A special emphasis of this interior is the abundance of thematic and plot paintings, which enliven the Empire style coolness and create interesting visual effects. For example, the painting in the bar-billiard room depicts horse racing scenes and sets the general English theme of the room.
Harold Mosolov:
“We tried to create in the project the atmosphere of a classic Russian estate, so that this house did not look like a museum. We imagined a hypothetical historical mansion, an empire-style building built in the 19th century, but which has survived to this day and has changed over time.”
Text: Danila Gulyaev Photo: Zinur Razutdinov
A noble nest is a coveted home, a standard and everything for a modern Russian person living outside the city. And if a customer who wants to build an estate house is inspired by literary and historical flavor, then for the executor-architect such a project becomes an important test of knowledge of the history of architecture and the ability to use the stylistic means of the language of classical architecture. The turbulent history of the 20th century has left us with few original examples of Russian estate architecture. architecture. And if in Europe historical palazzos and chateaus have been preserved in much greater numbers and are still in the use of private individuals, then in Russia the surviving estates and palaces belong to the state and operate as museums.
Architect Harold Mosolov and his team had a difficult task ahead of them. It was necessary to create not just an interior in a classical style inside a large house built on an almost palatial scale, but to recreate an atmosphere as if this house had been inhabited since the beginning of the 19th century. Let’s imagine that over time it changed organically and has survived to this day as a residential building with several cultural layers, adequate to modern requirements, but with a carefully preserved atmosphere of the noble past.
It must be said that there were all the prerequisites for the construction of just such a sprawling estate. The house is not located in a cramped suburban village, but in the center of a large, development-free area, with meadows and forest, an estate, not a plot. The first floor is built according to the classical model: in the center there is a large hall, on both sides of which there are enfilades of rooms symmetrically located.
The representative part of the building is a high, two-story living room and a hall with a grand staircase; they give the impression of a palace. The architect did not strive to decorate all the rooms in the same style, and this is historically justified, since in the original estates of the 19th century there were “thematic” rooms, decorated on a certain exotic theme, for example, Chinese. Again, the task of the architect and designer in this case is difficult: it is necessary to maintain a fine line between stylization and eclecticism, and not turn the interior into Disneyland. Harold Mosolov and the team developed a concept in which individual restrained stylized rooms are “strung” onto a single stylistic core - the Russian Empire style. Therefore, a living room in a classical style is adjacent to a hall in an Egyptian style, and the inside of the majestic staircase in the center of the building is an Italian courtyard with windows overlooking the garden.
It is worth noting the architect’s inspired and challenging work with light - natural and artificial. The location and size of the windows in relation to the rooms are calculated in such a way as to create a play of light and a feeling of openness to the surrounding nature; fortunately, the landscapes outside are not spoiled by huge fences and unnecessary buildings. And in the windowless basement, an impressive-sized bar with a billiard room was created, and the lighting problem was solved in the most elegant way. The ceiling, completely flooded with electric light, imitates an atrium open to the sun's rays. By the way, a real atrium, or, more precisely, a dome, is also present in the house, and in clear weather the sun illuminates the entire monumental staircase opening.
The task of creating not just an interior, but an interior with history, also corresponds to the main bedroom - the master bedroom.
The architect suggested that at the beginning of the 20th century, during the Art Nouveau era, a new generation of house owners decided to update individual rooms in the spirit of the times. Therefore, the bedroom of the owners of the house in memory of the hypothetical great-grandmother and great-grandfather is decorated in the Art Deco style. The furniture chosen was not antique from that period, but modern, stylized, so that the interior would correspond to the spirit of our time and would not reek of a museum.
The selection of household appliances and electronics was particularly difficult. One that would not introduce dissonance into the interior with ultra-modern design, but would not be overly stylized either. Therefore, the author decided to settle on a variant of discreet, functional high-tech, which, with its refined, almost transparent lines, delicately introduced a modern theme into the decor, but not breaking the overall style.
A special emphasis of this interior is the abundance of thematic and plot paintings, which enliven the Empire style coolness and create interesting visual effects. For example, the painting in the bar-billiard room depicts horse racing scenes and sets the general English theme of the room.
Harold Mosolov:
“We tried to create in the project the atmosphere of a classic Russian estate, so that this house did not look like a museum. We imagined a hypothetical historical mansion, an empire-style building built in the 19th century, but which has survived to this day and has changed over time.”
Literary critics argue that the artistic system created by the classic changed the poetics of the second novel half of the 19th century century. Ivan Turgenev was the first to sense the emergence of a “new man” - the sixties - and showed it in his essay “Fathers and Sons”. Thanks to the realist writer, the term “nihilist” was born in the Russian language. Ivan Sergeevich introduced into use the image of a compatriot, which received the definition of “Turgenev’s girl.”
Childhood and youth
One of the pillars of classical Russian literature was born in Orel, into an old noble family. Ivan Sergeevich spent his childhood on his mother’s estate, Spasskoye-Lutovinovo, not far from Mtsensk. He became the second son of three born to Varvara Lutovinova and Sergei Turgenev.
Family life parents didn’t work out. The father, a handsome cavalry guard who had squandered his fortune, married not a beauty, but a wealthy girl, Varvara, who was 6 years older than him. When Ivan Turgenev turned 12, his father left the family, leaving three children in the care of his wife. 4 years later, Sergei Nikolaevich died. Soon the youngest son Sergei died of epilepsy.
Nikolai and Ivan had a hard time - their mother had a despotic character. An intelligent and educated woman suffered a lot of grief in her childhood and youth. Varvara Lutovinova's father died when her daughter was a child. The mother, a quarrelsome and despotic lady, whose image readers saw in Turgenev’s story “Death,” remarried. The stepfather drank and did not hesitate to beat and humiliate his stepdaughter. Not in the best possible way treated the daughter and mother. Because of her mother’s cruelty and her stepfather’s beatings, the girl fled to her uncle, who left her niece an inheritance of 5 thousand serfs after her death.
The mother, who did not know affection in childhood, although she loved the children, especially Vanya, treated them the same way her parents treated her in childhood - her sons would forever remember their mother’s heavy hand. Despite her quarrelsome disposition, Varvara Petrovna was an educated woman. She spoke to her family only in French, demanding the same from Ivan and Nikolai. Spassky kept a rich library, consisting mainly of French books.
Ivan Turgenev at the age of 7 When Ivan Turgenev turned 9, the family moved to the capital, to a house on Neglinka. Mom read a lot and instilled in her children a love of literature. Preferring French writers, Lutovinova-Turgeneva followed literary innovations and was friends with Mikhail Zagoskin. Varvara Petrovna knew the works thoroughly and quoted them in correspondence with her son.
The education of Ivan Turgenev was carried out by tutors from Germany and France, on whom the landowner spared no expense. The wealth of Russian literature was revealed to the future writer by the serf valet Fyodor Lobanov, who became the prototype of the hero of the story “Punin and Baburin”.
After moving to Moscow, Ivan Turgenev was assigned to the boarding house of Ivan Krause. At home and in private boarding houses, the young master took a course high school, at the age of 15 he became a student at the capital's university. Ivan Turgenev studied at the Faculty of Literature, then transferred to St. Petersburg, where he received a university education at the Faculty of History and Philosophy.
During his student years, Turgenev translated poetry and the Lord and dreamed of becoming a poet.
Having received his diploma in 1838, Ivan Turgenev continued his education in Germany. In Berlin, he attended a course of university lectures on philosophy and philology, and wrote poetry. After the Christmas holidays in Russia, Turgenev went to Italy for six months, from where he returned to Berlin.
In the spring of 1841, Ivan Turgenev arrived in Russia and a year later passed the exams, receiving a master's degree in philosophy at St. Petersburg University. In 1843, he took a position in the Ministry of Internal Affairs, but his love for writing and literature prevailed.
Literature
Ivan Turgenev first appeared in print in 1836, publishing a review of Andrei Muravyov’s book “Journey to Holy Places.” A year later he wrote and published the poems “Calm on the Sea”, “Phantasmagoria in moonlit night" and dream".
Fame came in 1843, when Ivan Sergeevich composed the poem “Parasha”, approved by Vissarion Belinsky. Soon Turgenev and Belinsky became so close that the young writer became godfather son of a famous critic. The rapprochement with Belinsky and Nikolai Nekrasov influenced the creative biography of Ivan Turgenev: the writer finally said goodbye to the genre of romanticism, which became obvious after the publication of the poem “The Landowner” and the stories “Andrei Kolosov”, “Three Portraits” and “Breter”.
Ivan Turgenev returned to Russia in 1850. He lived sometimes on the family estate, sometimes in Moscow, sometimes in St. Petersburg, where he wrote plays that were successfully performed in theaters in two capitals.
In 1852, Nikolai Gogol passed away. Ivan Turgenev responded to the tragic event with an obituary, but in St. Petersburg, at the behest of the chairman of the censorship committee, Alexei Musin-Pushkin, they refused to publish it. The Moskovskie Vedomosti newspaper dared to publish Turgenev’s note. The censor did not forgive the disobedience. Musin-Pushkin called Gogol a “lackey writer”, not worthy of mention in society, and moreover, he saw in the obituary a hint of a violation of the unspoken ban - not to remember in the open press Alexander Pushkin and those who died in a duel.
The censor wrote a report to the emperor. Ivan Sergeevich, who was under suspicion due to his frequent trips abroad, communication with Belinsky and Herzen, and radical views on serfdom, incurred even greater wrath from the authorities.
Ivan Turgenev with colleagues from Sovremennik In April of the same year, the writer was put in custody for a month, and then sent under house arrest on the estate. For a year and a half, Ivan Turgenev stayed in Spassky without a break; for 3 years he did not have the right to leave the country.
Turgenev’s fears about the censorship ban on the release of “Notes of a Hunter” as a separate book were not justified: the collection of stories, previously published in Sovremennik, was published. For allowing the book to be printed, the official Vladimir Lvov, who served in the censorship department, was fired. The cycle included the stories “Bezhin Meadow”, “Biryuk”, “Singers”, “District Doctor”. Individually, the novellas did not pose a danger, but when collected together they were anti-serfdom in nature.
Collection of stories by Ivan Turgenev "Notes of a Hunter" Ivan Turgenev wrote for both adults and children. The prose writer gave the little readers fairy tales and observation stories “Sparrow”, “Dog” and “Pigeons”, written in rich language.
In rural solitude, the classic author composed the story “Mumu”, as well as the novels “The Noble Nest”, “On the Eve”, “Fathers and Sons”, “Smoke”, which became an event in the cultural life of Russia.
Ivan Turgenev went abroad in the summer of 1856. In winter in Paris, he completed the dark story “A Trip to Polesie.” In Germany in 1857 he wrote “Asya” - a story translated during the writer’s lifetime into European languages. Critics consider Turgenev's daughter Polina Brewer and illegitimate half-sister Varvara Zhitova to be the prototype of Asya, the daughter of a master and a peasant woman born out of wedlock.
Ivan Turgenev's novel "Rudin" Abroad, Ivan Turgenev closely followed the cultural life of Russia, corresponded with writers who remained in the country, and communicated with emigrants. Colleagues considered the prose writer a controversial person. After an ideological disagreement with the editors of Sovremennik, which became the mouthpiece of revolutionary democracy, Turgenev broke with the magazine. But, having learned about the temporary ban on Sovremennik, he spoke out in its defense.
During his life in the West, Ivan Sergeevich entered into long conflicts with Leo Tolstoy, Fyodor Dostoevsky and Nikolai Nekrasov. After the release of the novel “Fathers and Sons,” he quarreled with the literary community, which was called progressive.
Ivan Turgenev was the first Russian writer to receive recognition in Europe as a novelist. In France, he became close to the realist writers, the Goncourt brothers, and Gustave Flaubert, who became his close friend.
In the spring of 1879, Turgenev arrived in St. Petersburg, where young people greeted him as an idol. The delight from the visit of the famous writer was not shared by the authorities, making Ivan Sergeevich understand that a long stay of the writer in the city was undesirable.
In the summer of the same year, Ivan Turgenev visited Britain - at Oxford University the Russian prose writer was given the title of honorary doctor.
The penultimate time Turgenev came to Russia was in 1880. In Moscow, he attended the opening of a monument to Alexander Pushkin, whom he considered a great teacher. The classic called the Russian language support and support “in the days of painful thoughts” about the fate of the homeland.
Personal life
Heinrich Heine compared the femme fatale, who became the love of the writer’s life, to a landscape, “at the same time monstrous and exotic.” The Spanish-French singer Pauline Viardot, a short and stooping woman, had large masculine features, a large mouth and bulging eyes. But when Polina sang, she transformed fabulously. At such a moment, Turgenev saw the singer and fell in love for the rest of his life, for the remaining 40 years.
The prose writer's personal life before meeting Viardot was like a roller coaster. The first love, which Ivan Turgenev sadly told about in the story of the same name, painfully wounded the 15-year-old boy. He fell in love with his neighbor Katenka, the daughter of Princess Shakhovskaya. What a disappointment befell Ivan when he learned that his “pure and immaculate” Katya, who captivated with her childish spontaneity and girlish blush, was the mistress of her father, Sergei Nikolaevich, a seasoned womanizer.
The young man became disillusioned with the “noble” girls and turned his attention to simple girls - serf peasant women. One of the undemanding beauties, seamstress Avdotya Ivanova, gave birth to Ivan Turgenev’s daughter Pelageya. But while traveling around Europe, the writer met Viardot, and Avdotya remained in the past.
Ivan Sergeevich met the singer’s husband, Louis, and began to enter their house. Turgenev's contemporaries, the writer's friends and biographers disagreed about this union. Some call it sublime and platonic, others talk about the considerable sums that the Russian landowner left in the house of Polina and Louis. Viardot's husband turned a blind eye to Turgenev's relationship with his wife and allowed her to live in their house for months. There is an opinion that the biological father of Paul, the son of Polina and Louis, is Ivan Turgenev.
The writer’s mother did not approve of the relationship and dreamed that her beloved offspring would settle down, marry a young noblewoman and give him legitimate grandchildren. Varvara Petrovna did not favor Pelageya; she saw her as a serf. Ivan Sergeevich loved and pitied his daughter.
Polina Viardot, hearing about the bullying of her despotic grandmother, was imbued with sympathy for the girl and took her into her home. Pelageya turned into Polynet and grew up with Viardot's children. To be fair, it is worth noting that Pelageya-Polinet Turgeneva did not share her father’s love for Viardot, believing that the woman stole the attention of her loved one from her.
Cooling in the relationship between Turgenev and Viardot came after a three-year separation, which occurred due to the writer’s house arrest. Ivan Turgenev made attempts to forget his fatal passion twice. In 1854, the 36-year-old writer met the young beauty Olga, the daughter of his cousin. But when a wedding appeared on the horizon, Ivan Sergeevich began to yearn for Polina. Not wanting to ruin the life of an 18-year-old girl, Turgenev confessed his love for Viardot.
The last attempt to escape from the embrace of a French woman happened in 1879, when Ivan Turgenev turned 61 years old. Actress Maria Savina was not afraid of the age difference - her lover turned out to be twice as old. But when the couple went to Paris in 1882, in the home of her future husband, Masha saw many things and trinkets that reminded her of her rival, and realized that she was superfluous.
Death
In 1882, after breaking up with Savinova, Ivan Turgenev fell ill. The doctors made a disappointing diagnosis - spinal bone cancer. The writer died in a foreign land long and painfully.
In 1883, Turgenev was operated on in Paris. The last months of his life, Ivan Turgenev was happy, as happy as a person tormented by pain can be - his beloved woman was next to him. After her death, she inherited Turgenev's property.
The classic died on August 22, 1883. His body was delivered to St. Petersburg on September 27. From France to Russia, Ivan Turgenev was accompanied by Polina's daughter, Claudia Viardot. The writer was buried at the Volkov cemetery in St. Petersburg.
Calling Turgenev “a thorn in his side,” he reacted to the death of the “nihilist” with relief.
Bibliography
- 1855 – “Rudin”
- 1858 – “The Noble Nest”
- 1860 – “On the Eve”
- 1862 – “Fathers and Sons”
- 1867 – “Smoke”
- 1877 – “Nove”
- 1851-73 - “Notes of a Hunter”
- 1858 – “Asya”
- 1860 – “First Love”
- 1872 – “Spring Waters”
