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Alexey Bogolyubov. Astrakhan. Admiralty. A variant of the work of the same name from the collection of the Russian Museum, the reason for which was the shipyards of Astrakhan. It is a documentary and at the same time a loving view of Russian realism on the unsettled life of provincial towns, seen by the future chief artist of the General Staff, during a trip along the Volga. Between the verticals of the masts of ships and steamers in the center are dilapidated houses of artisans. They can see the collected logs for the repair of masts, oars, an anchor, a drying canvas and a resin tank. A kind of diagonal is made up of bundles of inclined boards, oars and a patch of sail on the ground. This unhurried movement is stopped by a pause, an inactively sitting foreground figure. Bright spots of drying linen and clothes of fishermen enliven the clay color of the Volga backwaters. The hard shadows of the midday sun, against the background of the sky faded from the heat, immerse you in the atmosphere of the southern Russian steppes. At the same time, the artist, along with the fishing launch and the simplicity of life, does not ignore paddle steamers - a sign of new industrial opportunities. They form industrial, merchant contrasts and the background of the work. In the lower right corner in a telegraph line, a documentary message: Astrakhan. Bogolyubov. Oil on canvas: 36x57 cm. Literature: Catalog of the Russian Museum. Marina Smirnova p.69. The canvas is duplicated.
Location: Gallery "Antiqon", Brivibas street 52, Riga, Latvia
Item description is approximate automatic translation . Antiqon.com is not responsible for translation errors. Show original text.
АЛЕКСЕЙ ПЕТРОВИЧ БОГОЛЮБОВ (1824-1896). Астрахань. Адмиралтейство.
Алексей Боголюбов. Астрахань. Адмиралтейство. Вариант одноименной работы из собрания Русского музея, поводом для которой послужили корабельные мастерские Астрахани. Представляет собой документальный и одновременно любовный взгляд русского реализма на неустроенный быт провинциальных городков, увиденный, будущим главным художником Генерального Штаба, во время поездки по Волге. Между вертикалями мачт судов и пароходов по центру располагаются ветхие домики мастеровых. У них можно разглядеть собранные бревна для ремонта мачт, весла, якорь, сохнущую парусину и смоляной бак. Своеобразную диагональ составляют пучки наклонных досок, весла и пятно паруса на земле. Это неторопливое движение останавливается паузой, бездеятельно сидящей фигуры переднего плана. Яркие пятна сохнущего белья и одежды рыбаков, оживляют глинистый колорит волжских затонов. Жесткие тени полуденного солнца, на фоне, выцветшего от зноя, неба, погружают в атмосферу южнорусских степей. В то же время художник, наравне с рыбацким баркасом и простотой быта, не обходит вниманием колесные пароходы - знак новых промышленных возможностей. Они формируют индустриальные, купеческие контрасты и второй план произведения. В правом нижнем углу телеграфной строкой, документальное сообщение: Астрахань. Боголюбов. Холст, масло: 36x57 см. Литература: Каталог Русского музея. Марина Смирнова стр.69. Холст дублирован.
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Konstantin Artamonov
Master of Arts. Graduate of the Repin Institute of Painting, Sculpture, and Architecture. With 20 years of experience in the field of antiques and teaching the history of fine arts at university.
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