19th-century Russian literature, paintings, music turned 11 today!

romaâ
AnasAbdin
Lint Roller? I Barely Know Her
I'd rather be in outer space đž

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@theartofmadeline

Kaledo Art
Alisa U Zemlji Chuda
todays bird
PUT YOUR BEARD IN MY MOUTH

JVL
d e v o n

Love Begins
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KIROKAZE

Discoholic đȘ©
let's talk about Bridgerton tea, my ask is open

ç„æ„ / Permanent Vacation

Janaina Medeiros
Aqua Utopiaïœæ”·ăźćșă§èšæ¶ă玥ă

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@ioannisg22
19th-century Russian literature, paintings, music turned 11 today!
My best wishes (illustrations from the famous Russian Spirin)
Dmitri Shostakovich - The second waltz
From Serov: Count Felix Sumarokov-Elstone, later Prince Yusupov
Unique
From Serov: Count Felix Sumarokov-Elstone, later Prince Yusupov
great verse
âI loved you: and, it may be, from my soul The former love has never gone away, But let it not recall to you my dole; I wish not sadden you in any way. I loved you silently, without hope, fully, In diffidence, in jealousy, in pain; I loved you so tenderly and truly, As let you else be loved by any man. â â Alexander Pushkin
Natalia Nikolayevna Pushkina-Lanskaya
(Russian: ĐаŃалŃŃ ĐĐžĐșĐŸĐ»Đ°Đ”ĐČĐœĐ° ĐŃŃĐșĐžĐœĐ°-ĐĐ°ĐœŃĐșаŃ, 8 September 1812 â 26 November 1863) (nĂ©e Natalia Nikolayevna Goncharova) (ĐĐŸĐœŃаŃĐŸĐČа) was the wife of the Russian poet Alexander Pushkin from 1831 until his death in 1837 in a duel with Georges d'AnthĂšs. Natalia was married to Major-General Petr Petrovich Lanskoy from 1844 until her death in 1863.
Natalia (Natalya) Goncharova was born on 8 September 1812 (27 August 1812 Old Style) in Karian Village in Tambov Governorate (in present-day Znamensky District, Tambov Oblast), where her family lived during the occupation of Moscow by the forces of Napoleon. Her father, Nikolay Afanasievich Goncharov, a scion of the family of paper manufacturers from Kaluga, was pronounced demented in 1815; the household was managed by his wife, Natalia Ivanovna Zagriajskaya, an imperious lady with connections within Muscovite nobility.[1] Her ancestors included Petro Doroshenko, Hetman of Ukrainian Cossacks.
Natalie (as she was familiarly known) met Alexander Pushkin at the age of 16 when she was one of the most talked-about beauties of Moscow
 After many hesitations, Natalia eventually accepted a proposal of marriage from Pushkin in April 1830, but not until she had received assurances that the tsarist government did not intend to persecute the libertarian poet. They were officially engaged on 6 May 1830 and sent out wedding invitations. Because of the outbreak of cholera and other circumstances, the wedding was delayed for a year. The ceremony took place on 18 February 1831 (Old Style) in the Great Ascension Church on Bolshaya Nikitskaya Street in Moscow.
During the six years of their marriage, Natalia Pushkina gave birth to four children: Maria (b. 1832, suggested as a prototype of Anna Karenina), Alexander (b. 1833), Grigory (b. 1835), and Natalia (b. 1836) (who married into the Royal House of Nassau-Weilburg to Nikolaus Wilhelm of Nassau and became Countess of Merenberg). As the family lived in the country for prolonged periods, while Pushkin spent most of his time in the capitals, there was a sizeable correspondence between Natalia and Pushkin. Seventy-eight letters from Pushkin to Natalia remain; they are frequently written in a light-hearted tone with touches of ribaldry, but none of them could be called love letters. It is believed that the poet dedicated several poems to her, including "Madonna" (1830). Natalya's correspondence with Pushkin was lost except for one letter, written together with her mother Natalia Ivanovna
In 1835 Natalia met a French immigrant, Georges-Charles de Heeckeren d'AnthÚs, and was involved in a society intrigue, which provoked rumors of an affair with D'AnthÚs. These resulted in a duel between Pushkin and D'AnthÚs on January 27, 1837, in which Pushkin was mortally wounded. Commentators disagree about the propriety of Natalia's behavior in this situation. Some, including Anna Akhmatova and Marina Tsvetaeva, covertly or overtly blamed Pushkin's death on her, feeling that she did not understand his greatness and failed to take an appropriate interest in his art. It does seem that she preferred worldly pleasures to his company, though to some extent she was obliged to socialise separately from him; for example, even during her pregnancies, she often had to chaperone her sisters in the court, since there was no one else to do so, and only by going into society could they find husbands. Her constant demands for money for costly dresses and jewelry forced the poet to write increasingly for money rather than for pleasure. However, modern research into archival materials and contemporary memoirs, including those of family members (who always mentioned Natalia Nikolayevna with great warmth and respect), leads to a more sympathetic view. It stands to her credit that she preserved Pushkin's letters to her (which suggests that she had some idea of the significance of his written heritage), and subsequently she allowed them to be published.
Much was made of Natalia's relationship with Nicholas I after Pushkin's death; it was even rumored that she became his mistress. In 1843, she met Petr Petrovich Lanskoy (1799-1877), who served in the same regiment as her brother. After having been blessed by the Tsar, their wedding was held in Strelna on 16 July 1844. Lanskoy was in favor with the tsar, and he had had a remarkable career before his marriage. Following the marriage, Natalia gave birth to three daughters: Alexandra (b. 1845), Elizaveta (b. 1846) and Sophia (b. 1848). Natalia died on 26 November 1863 and her ashes were laid in the cemetery of the Alexander Nevsky Lavra.
Pushkin
Eugene Onegin
Onegin is considered a classic of Russian literature, and its eponymous protagonist has served as the model for a number of Russian literary heroes (so-called superfluous men). It was published in serial form between 1825 and 1832. The first complete edition was published in 1833, and the currently accepted version is based on the 1837 publication.
Almost the entire work is made up of 389 stanzas of iambic tetrameter with the unusual rhyme scheme "AbAbCCddEffEgg", where the uppercase letters represent feminine rhymes while the lowercase letters represent masculine rhymes. This form has come to be known as the "Onegin stanza" or the "Pushkin sonnet."
The innovative rhyme scheme, the natural tone, and diction, and the economic transparency of presentation all demonstrate the virtuosity which has been instrumental in proclaiming Pushkin as the undisputed master of Russian poetry.
The story is told by a narrator (a lightly fictionalized version of Pushkin's public image), whose tone is educated, worldly, and intimate. The narrator digresses at times, usually to expand on aspects of this social and intellectual world. This allows for a development of the characters and emphasizes the drama of the plot despite its relative simplicity.
The book is admired for the artfulness of its verse narrative as well as for its exploration of life, death, love, ennui, convention and passion.
Plot
In the 1820s, Eugene Onegin is a bored Saint Petersburg dandy, whose life consists of balls, concerts, parties and nothing more. One day he inherits a landed estate from his uncle. When he moves to the country, he strikes up a friendship with his neighbor, a starry-eyed young poet named Vladimir Lensky. One day, Lensky takes Onegin to dine with the family of his fiancée, the sociable but rather thoughtless Olga Larina. At this meeting, he also catches a glimpse of Olga's sister Tatyana. A quiet, precocious romantic and the exact opposite of Olga, Tatyana becomes intensely drawn to Onegin. Soon after, she bares her soul to Onegin in a letter professing her love. Contrary to her expectations, Onegin does not write back. When they meet in person, he rejects her advances politely but dismissively and condescendingly. This famous speech is often referred to as Onegin's Sermon: he admits that the letter was touching, but says that he would quickly grow bored with marriage and can only offer Tatyana friendship; he coldly advises more emotional control in the future, lest another man take advantage of her innocence.
Later, Lensky mischievously invites Onegin to Tatyana's name day celebration promising a small gathering with just Tatyana, Olga, and their parents. When Onegin arrives, he finds instead a boisterous country ball, a rural parody of and contrast to the society balls of St. Petersburg he has grown tired of. Onegin is irritated with the guests who gossip about him and Tatyana, and with Lensky for persuading him to come. He decides to avenge himself by dancing and flirting with Olga. Olga is insensitive to her fiancé and apparently attracted to Onegin. Earnest and inexperienced, Lensky is wounded to the core and challenges Onegin to fight a duel; Onegin reluctantly accepts, feeling compelled by social convention. During the duel, Onegin unwillingly kills Lensky. Afterward, he quits his country estate, traveling abroad to deaden his feelings of remorse.
Tatyana visits Onegin's mansion, where she looks through his books and his notes in the margins and begins to question whether Onegin's character is merely a collage of different literary heroes and if there is, in fact, no "real Onegin".
Several years pass, and the scene shifts to St. Petersburg. Onegin has come to attend the most prominent balls and interact with the leaders of old Russian society. He sees the most beautiful woman, who captures the attention of all and is central to society's whirl, and he realizes that it is the same Tatyana whose love he had once turned away. Now she is married to an aged prince (a general). Upon seeing Tatyana again, he becomes obsessed with winning her affection, despite the fact that she is married. However, his attempts are rebuffed. He writes her several letters but receives no reply. Eventually, Onegin manages to see Tatyana and presents to her the opportunity to finally elope after they have become reacquainted. She recalls the days when they might have been happy, but that time has passed. Onegin repeats his love for her. Faltering for a moment, she admits that she still loves him, but she will not allow him to ruin her and declares her determination to remain faithful to her husband. She leaves him regretting his bitter destiny.
Duel Between Onegin And Lenski
Repin was born in Chuguyev, in Kharkov Governorate, Ukraine (Russian Empire at that time) into a family of "military settlers".[2] His father traded horses and his grandmother ran an inn. He entered military school to study surveying. Soon after the surveying course was canceled, his father helped Repin to become an apprentice with Ivan Bunakov, a local icon painter, where he restored old icons and painted portraits of local notables through commissions. In 1863 he went to St. Petersburg Art Academy to study painting but had to enter Ivan Kramskoi preparatory school first. He met fellow artist Ivan Kramskoi and the critic Vladimir Stasov during the 1860s, and his wife, Vera Shevtsova in 1872 (they remained married for ten years). In 1874â1876 he showed at the Salon in Paris and at the exhibitions of the Itinerants' Society in Saint Petersburg. He was awarded the title of academician in 1876. In 1880 Repin traveled to Zaporozhia in Ukraine[citation needed] to gather material for the 1891 Reply of the Zaporozhian Cossacks. His Religious Procession in Kursk Province was exhibited in 1883, and Ivan the Terrible and His Son Ivan in 1885. In 1892 he published the Letters of Art collection of essays. He taught at the Higher Art School attached to the Academy of Arts from 1894. In 1898 he purchased an estate, the Penates, in Kuokkala, Finland (now Repino, Saint Petersburg). In 1901 he was awarded the Legion of Honour. In 1911 he traveled with his common-law wife Natalia Nordman to the World Exhibition in Italy, where his painting 17 October 1905 and his portraits were displayed in their own separate room. In 1916 Repin worked on his book of reminiscences, Far and Near, with the assistance of Korney Chukovsky. He welcomed the Russian Revolution of 1917. Celebrations were held in 1924 in Kuokkala to mark Repin's 80th birthday, followed by an exhibition of his works in Moscow. In 1925 a jubilee exhibition of his works was held in the Russian Museum in Leningrad. Repin died in 1930 and was buried at the Penates.
El concierto - Le Tzigane - Mélanie Laurent - Violin
THE MOCK EXECUTION OF FYODOR DOSTOYEVSKY
On December 22, 1849, members of a Russian intellectual literary group known as the Petrashevsky Circle were sent to Semyonov Square to meet their fate â death by firing squad. With the men pointing their rifles and fingers resting on the trigger, a messenger from the Tsar rode into the square waving a white flag. Like something out of a Hollywood movie, he declared he had an official pardon from the Tsar of Russia, Nicholas I, in a âshow of mercy.â This was not a show of mercy, but rather a staged way of fostering fear, terror, and gratitude. This was a âmock executionâ and among the victims was the famed Russian author Fyodor Dostoyevsky. Besides Petrashevsky, Dostoyevsky, and Belinsky, the circle was made up of such individuals as the writer Mikhail Saltykov-Shchedrin, the poet Aleksey Pleshcheyev, and the painter Taras Shevchenko â all well known Russian creatives who happen to be socialist-leaning. Besides serfdom, they also discussed socialist politics, their opposition to Tsar Nicholas I, and read banned literature. This all came to a halt when, on April 23, 1849, 35 members of the circle were arrested. There was also a note sent to police officers calling for Dostoyevskyâs arrest by name. It read, belongAccording to the supreme order of the Tsar, I command you to arrest Junior-Lieutenant and literary artist Fyodor Dostoyevsky at four oâclock in the morning⊠to put a seal on all of his papers, manuscripts, and books, and dispatch instantly all these materials, together with Dostoyevsky to the Third Section of the Royal Police of His Majesty⊠if Dostoyevsky claims that certain docu belonging to other people, ignore these statements and seal those documents as well.The group was incarcerated in St. Peter and Paul Fortress Prison, or simply known as âFortress Prison,â where the worst criminals were kept. After months in prison, they were convicted of distributing letters with âabusive remarks about the Orthodox Church and Governmentâ and conspiring to publish âanti-Government propaganda.â For this, they were sentenced to death by firing squad.On December 22nd, they were marched out blindfolded to Semyonov Square in Saint Petersburg. As preparations were made, every person was prepared to die that day.Â
As the squad pointed their guns at the three tied to the posts (as noted, not Dostoyevsky, who was off to the side), the shout went out, âPrepare to fire!â and, then, another sound rang out â that of a drummer who had been commanded to beat the ârefuse,â meaning stop the previous order. The messenger had arrived with Tsar Nicholasâs I new order. âLong Live the Tsarâ was yelled, blindfolds were taken off, and the prisoners, including Dostoyevsky, had tears in their eyes. They were saved, but this wasnât a last second show of mercy. This pardon was actually agreed upon the day before, but with the orders that it was to be announced only at the last possible second.
Gogol: The night before Christmas
The overcoat
A stamp depicting "The Overcoat" (Gogol). Dostoyevsky said that all Russian realist writers had "come out from Gogol's 'Overcoat,'â
Natasha and Andrei's Waltz: War and Peace
Natasha Rostova and Andrei Bolkonsky's waltz from Sergei Bondarchuk's 1967 adaptation of War and Peace by Leo Tolstoy. Starring Lyudmila Savelyeva, Vyacheslav Tikhonov, and Sergei Bondarchuk.
by Anton Chekhov
AT THE BARBER'S
MORNING. It is not yet seven o'clock, but Makar Kuzmitch Blyostken's shop is already open. The barber himself, an unwashed, greasy, but foppishly dressed youth of three and twenty, is busy clearing up; there is really nothing to be cleared away, but he is perspiring with his exertions. In one place he polishes with a rag, in another he scrapes with his finger or catches a bug and brushes it off the wall.
The barber's shop is small, narrow, and unclean. The log walls are hung with paper suggestive of a cabman's faded shirt. Between the two dingy, perspiring windows there is a thin, creaking, rickety door, above it, green from the damp, a bell which trembles and gives a sickly ring of itself without provocation. Glance into the looking-glass which hangs on one of the walls, and it distorts your countenance in all directions in the most merciless way! The shaving and haircutting is done before this looking-glass. On the little table, as greasy and unwashed as Makar Kuzmitch himself, there is everything: combs, scissors, razors, a ha'porth of wax for the moustache, a ha'porth of powder, a ha'porth of much watered eau de Cologne, and indeed the whole barber's shop is not worth more than fifteen kopecks.
There is a squeaking sound from the invalid bell and an elderly man in a tanned sheepskin and high felt over-boots walks into the shop. His head and neck are wrapped in a woman's shawl.
This is Erast Ivanitch Yagodov, Makar Kuzmitch's godfather. At one time he served as a watchman in the Consistory, now he lives near the Red Pond and works as a locksmith.
"Makarushka, good-day, dear boy!" he says to Makar Kuzmitch, who is absorbed in tidying up.
They kiss each other. Yagodov drags his shawl off his head, crosses himself, and sits down.
"What a long way it is!" he says, sighing and clearing his throat. "It's no joke! From the Red Pond to the Kaluga gate."
"How are you?"
"In a poor way, my boy. I've had a fever."
"You don't say so! Fever!"
"Yes, I have been in bed a month; I thought I should die. I had extreme unction. Now my hair's coming out. The doctor says I must be shaved. He says the hair will grow again strong. And so, I thought, I'll go to Makar. Better to a relation than to anyone else. He will do it better and he won't take anything for it. It's rather far, that's true, but what of it? It's a walk."
"I'll do it with pleasure. Please sit down."
With a scrape of his foot Makar Kuzmitch indicates a chair. Yagodov sits down and looks at himself in the glass and is apparently pleased with his reflection: the looking-glass displays a face awry, with Kalmuck lips, a broad, blunt nose, and eyes in the forehead. Makar Kuzmitch puts round his client's shoulders a white sheet with yellow spots on it, and begins snipping with the scissors.
"I'll shave you clean to the skin!" he says.
"To be sure. So that I may look like a Tartar, like a bomb. The hair will grow all the thicker."
"How's auntie?"
"Pretty middling. The other day she went as midwife to the major's lady. They gave her a rouble."
"Oh, indeed, a rouble. Hold your ear."
"I am holding it. . . . Mind you don't cut me. Oy, you hurt! You are pulling my hair."
"That doesn't matter. We can't help that in our work. And how is Anna Erastovna?"
"My daughter? She is all right, she's skipping about. Last week on the Wednesday we betrothed her to Sheikin. Why didn't you come?"
The scissors cease snipping. Makar Kuzmitch drops his hands and asks in a fright:
"Who is betrothed?"
"Anna."
"How's that? To whom?"
"To Sheikin. Prokofy Petrovitch. His aunt's a housekeeper in Zlatoustensky Lane. She is a nice woman. Naturally we are all delighted, thank God. The wedding will be in a week. Mind you come; we will have a good time."
"But how's this, Erast Ivanitch?" says Makar Kuzmitch, pale, astonished, and shrugging his shoulders. "It's . . . it's utterly impossible. Why, Anna Erastovna . . . why I . . . why, I cherished sentiments for her, I had intentions. How could it happen?"
"Why, we just went and betrothed her. He's a good fellow."
Cold drops of perspiration come on the face of Makar Kuzmitch. He puts the scissors down on the table and begins rubbing his nose with his fist.
"I had intentions," he says. "It's impossible, Erast Ivanitch. I . . . I am in love with her and have made her the offer of my heart. . . . And auntie promised. I have always respected you as though you were my father. . . . I always cut your hair for nothing. . . . I have always obliged you, and when my papa died you took the sofa and ten roubles in cash and have never given them back. Do you remember?"
"Remember! of course I do. Only, what sort of a match would you be, Makar? You are nothing of a match. You've neither money nor position, your trade's a paltry one."
"And is Sheikin rich?"
"Sheikin is a member of a union. He has a thousand and a half lent on mortgage. So my boy . . . . It's no good talking about it, the thing's done. There is no altering it, Makarushka. You must look out for another bride. . . . The world is not so small. Come, cut away. Why are you stopping?"
Makar Kuzmitch is silent and remains motionless, then he takes a handkerchief out of his pocket and begins to cry.
"Come, what is it?" Erast Ivanitch comforts him. "Give over. Fie, he is blubbering like a woman! You finish my head and then cry. Take up the scissors!"
Makar Kuzmitch takes up the scissors, stares vacantly at them for a minute, then drops them again on the table. His hands are shaking.
"I can't," he says. "I can't do it just now. I haven't the strength! I am a miserable man! And she is miserable! We loved each other, we had given each other our promise and we have been separated by unkind people without any pity. Go away, Erast Ivanitch! I can't bear the sight of you."
"So I'll come to-morrow, Makarushka. You will finish me to-morrow."
"Right."
"You calm yourself and I will come to you early in the morning."
Erast Ivanitch has half his head shaven to the skin and looks like a convict. It is awkward to be left with a head like that, but there is no help for it. He wraps his head in the shawl and walks out of the barber's shop. Left alone, Makar Kuzmitch sits down and goes on quietly weeping.
Early next morning Erast Ivanitch comes again.
"What do you want?" Makar Kuzmitch asks him coldly.
"Finish cutting my hair, Makarushka. There is half the head left to do."
"Kindly give me the money in advance. I won't cut it for nothing."
Without saying a word Erast Ivanitch goes out, and to this day his hair is long on one side of the head and short on the other. He regards it as extravagance to pay for having his hair cut and is waiting for the hair to grow of itself on the shaven side.
He danced at the wedding in that condition.
 "