Folk clothes Solntsev artist. Venevsky district - Fedor Grigorievich Solntsev

SOLNTSEV Fedor Grigorievich (April 14, 1801, the village of Verkhne-Nikulskoye, Mologsky district, Yaroslavl province - 1892, St. Petersburg) - artist, archaeologist, restorer.

From the family of the serf peasant Count I.A. Musina-Pushkin. Soon after Fedor’s birth, his father, having received a position as a cashier at the Imperial Theaters, left for St. Petersburg. Fyodor remained in the village with his mother, who in his sixth year began teaching him to read and write. But the efforts of the mother, and then the manager of the estate of Counts Musin-Pushkin, were unsuccessful - the boy painted his notebooks instead of lessons. The father, who noticed his son's penchant for drawing, took him to St. Petersburg.

In 1815 Solntsev entered the Academy of Arts in St. Petersburg, where he discovered extraordinary success. Studied with S. Shchukin and A. Egorov. He specialized “in archaeological and ethnographical areas.” In 1824, upon completion of the course, he received a small gold medal for the painting “Peasant Family.” As a promising student, he was retained at the Academy, and in 1827 he received a large gold medal for the painting “Render unto Caesar the things that are Caesar's, and the things that are God's to the Gods.”

While still studying, Solntsev discovered an amazing gift for copying, which drew the attention of Academy President A. N. Olenin. The first task for Solntsev was copies of “Ryazan Antiquities” found in 1822, which he made with such skill that, according to legend, professor of perspective M.P. Vorobyov mistook the painted plaque for a real one and tried to pick it up. In the 1830s, Solntsev traveled a lot to old Russian cities, making sketches of utensils and weapons, church objects, archaeological finds, buildings, icons, and frescoes. About 5 thousand watercolor drawings depicting the antiquities of Kyiv, Chernigov, Novgorod, Smolensk, Polotsk, Ryazan, Vladimir, Suzdal, Moscow, and many monasteries have been preserved. An album of drawings “Types and Costumes of the Peoples of Russia” was made from life.

Nicholas I took Solntsev under his personal protection. “By the highest command,” Solntsev created landscapes in which the tsar completed battle scenes, carried out major restoration work, and published art publications. Solntsev’s artistic activity was thus included in the context of the official ideologeme “Orthodoxy, Autocracy, Nationality.” In 1834 Solntsev took part in the restoration of the frescoes of the Dmitrievsky Cathedral in Vladimir (12th century). In 1835 he composed projects for the restoration of the royal towers in the Kremlin, according to which they were renewed; for this work he was awarded the Vladimir Cross. In 1836, for the painting “Meeting of Grand Duke Svyatoslav with John Tzimiskes” he received the title of academician. In 1838 Solntsev created drawings for parquet floors St. George's Hall Grand Kremlin Palace (architect K.A. Ton). In 1843-1851 he supervised the restoration of the frescoes of the Kyiv St. Sophia Cathedral (11th century).

The principles of scientific restoration were still in their infancy, and the “renewal” was carried out in the spirit of the then prevailing tastes. The losses were added to, all the frescoes were roughly painted in oil paint, many of the images were painted anew. Craftsmen-icon painters were involved in the work, using a knife and an ax to clean off ancient paintings. The imperfection of such a restoration was already recognized by contemporaries. Solntsev’s watercolors became the basis for 700 lithographed drawings of the major 6-volume edition of “Antiquities of the Russian State” (1846−1853). His atlas reproduced miraculous icons, manuscript miniatures, parsuns, and frescoes. In 1853, according to Solntsev’s drawings, church utensils and vestments of priests were made for St. Isaac’s Cathedral in St. Petersburg (architect O. Montferrand), the frescoes of which were painted by Fyodor’s younger brother, Yegor, a graduate of the Academy of Arts.

In the 1850s, Solntsev was in charge of the production of iconostases for churches in Western provinces, and participated in a temporary commission to analyze the ancient acts of the South-West of Russia. In 1859 he became a member of the Imperial Archaeological Commission. In 1863 Solntsev was awarded the title of “honorary free associate” of the Academy of Arts. In 1876 he received the title of professor and in honor of the 50th anniversary of his activity was knocked out gold medal.

For 30 years, Solntsev was a trustee of the department of gifted children of serfs at the Academy of Arts. He created a pictorial encyclopedia of Russian medieval and folk life in its material monuments. Solntsev contributed to the development of icon painting and applied church art, composing samples “in the old Russian style” for artists, furniture makers, goldsmiths, etc. He was awarded the Order of St. Anne, III degree (1835) and St. Stanislav, I degree (1888). Along with K. A. Ton, he is considered the founder of the “Russian style” in Russian art.

Solntsev’s works are stored in many museums, including the RIAHMZ, and the album “Types and Costumes of the Peoples of Russia” is in the Slavic-Baltic department of the New York Public Library.

The life and works of the artist Fyodor Solntsev
“Solntsev was one of those best and few
who taught us all to appreciate and love
real indigenous Rus'."
V.V. Stasov

In one of the halls of the State Tretyakov Gallery On display is a small painting “Peasant Family”, made in 1824 by a graduate of the Academy of Arts as a program for the Small (second) gold medal. A traditional program task with a simple plot, simple but thoughtful compositional structure, warm color – a real academic work.

It earned the recognition and approval of the commission members, its author received a gold medal, and the young artist received the right to a pensioner’s trip, which he did not take advantage of. This painting at the end of the 19th century. took P.M. to my gallery. Tretyakov, students of the Academy of Arts made educational copies from it. And who could have imagined then, in 1824, that with this simple programmatic work the great path of an outstanding Russian artist would begin, without whom it is unthinkable today to talk about XIX culture V. in general, about Russian architecture and Russian bookishness, in particular. The name of this artist is Fyodor Grigorievich Solntsev (1801-1892).

Russian science owes the works of Solntsev the collection of “Antiquities of the Russian State” and “Kerch and Phanagorian Antiquities”. Based on Solntsev's drawings, the towers and churches of the Moscow Kremlin were restored, and the halls of the Kremlin Palace were decorated. He has the honor of discovering and restoring mosaics and frescoes of St. Sophia of Kyiv, the Assumption Cathedral of the Kiev Pechersk Lavra, and the Dmitrov Cathedral in Vladimir.

In 1876, during the celebration of the 50th anniversary of the artistic and archaeological activities of F.G. Solntsev, editor-in-chief of the famous magazine “Russian Antiquity” Mikhail Ivanovich Semevsky said: “Solntsev’s drawings, in scientific and artistic terms, are a pictorial chronicle Ancient Rus', the source of the revival of the domestic style. And if Karamzin found living colors for the style of his history in the chronicles and other archaeographic monuments of our Fatherland; if Pushkin is in folk tales found a living, fresh stream with which he renewed the language of Russian poetry, then the artist Solntsev with his works awakened in Russian artists a sense of national self-awareness and respect for the images bequeathed to us by our ancestors.”

Fyodor Grigorievich Solntsev was born on April 14, 1801 in the village. Verkhne-Nikulsky, Mologsky district, Yaroslavl province, in the family of landowner (serf) peasants, Count Musin-Pushkin. After the birth of his son Fyodor, his father, Grigory Kondratyevich, left for St. Petersburg and began working as a cashier at the imperial theaters. Soon, his older brother, Denis, also moved to the northern capital. Fyodor and his mother Elizaveta Frolovna remained in the village. Thanks to the efforts of his mother, who was a literate woman, he began to learn to read. But studying in general was difficult. It was much more interesting to draw or copy popular prints, to play on the banks of a stream flowing into the famous Sit River.

When in 1815 the father, as usual, visited the family, they complained to him about a careless child who was only interested in drawing various village and church objects. Grigory Kondratyevich, apparently having good instincts, took the child with him to St. Petersburg. Here, on Admiralty Square in the house of Count Kutaisov, living with his brother and father, Fyodor Grigorievich began to study arithmetic, French and German languages, study a range of general education subjects, as well as drawing.

While Fyodor Grigorievich was slowly studying with his brother, his father was busy getting him into the Academy of Arts. This happened in the same year, 1815. Having once gone, on the orders of Grigory Kondratyevich, to the inspector of academic classes, famous artist K.I. Golovachevsky, Fyodor Solntsev was immediately included in the number of his own students. In 1815 he was assigned to the first drawing class. Less than six months later, Solntsev found himself in the full-scale class. Having passed into the third age, F.G. Solntsev chose historical and portrait painting as his specialty, and began to work under the guidance of famous Russian painters, professors S.S. Shchukina, A.A. Egorova and A.G. Varneka. Solntsev worked a lot and interestingly, took part in the painting of the Kazan Cathedral. Soon the director of the Imperial Public Library A.N. drew attention to the paintings of the aspiring artist. Olenin, who in 1817 became President of the Academy of Arts. “A lover and connoisseur of antiquities,” widely erudite in matters of literature and art, a historian, archaeologist and ethnographer, he attracted the young artist to perform various works and orders, focusing on artistic and archaeological research. A.N. Olenin contributed to the formation and formation of a unique historical painter, an expert in archeology and history of Russia.

In 1829, almost five years after Solntsev graduated from the Academy of Arts, Olenin invited him to work on the publication of a book about Ryazan antiquities. F.G. Solntsev made drawings of Ryazan antiquities: precious plaques, bars, rings. He later recalled about this work: “Alexey Nikolaevich suggested that I draw “Ryazan antiquities.” I got to work. I had to draw in Alexei Nikolaevich’s office. By the way, I had drawn a badge, and this drawing was lying on the table. One day, a professor of perspective, M.N., came to see Alexei Nikolaevich. Vorobiev. Noticing a plaque on the table and mistaking it for a real one, he wanted to move it with his hand, but when he saw his mistake, he said: “Is it really drawn!” On this occasion, Alexey Nikolaevich remarked: “Yes, it’s impossible to give better praise to art.”

Work on Ryazan antiquities finally connected the life and work of Fyodor Grigorievich with archeology.

The most important step in creative biography F.G. Solntsev began in the 30s of the 19th century. At this time he worked in Moscow, taking drawings from ancient things stored in the Armory Chamber of the Moscow Kremlin and its cathedrals, making watercolor sketches various types Moscow. Some of these drawings were made for the Russian historian, full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev. In the introductory article to one of them, publisher August Semyon noted:

“A description of the antiquities of the first throne, the royal capital of Russia, worthy of the greatness of the subject and the reverent attention of the Russian people and the Russian land to the shrines and monuments of Moscow, has long been the common desire of all enlightened people. The study of Russian monuments is the duty of everyone who loves their Fatherland. Their preservation in descriptions and images from accidental death and destruction of time should be revered as a testament of our respect for our ancestors and people's honor.

By a happy accident, the long-desired enterprise found a zealous patron in the former, forever unforgettable mayor of Moscow, Prince D.V. Golitsyn. The description of the monuments of Moscow antiquity was entrusted to the learned expert on Russian antiquities I.M. Snegirev. Mr. Snegirev’s curious descriptions were enriched with drawings by an excellent isographer of Russian antiquities, Academician F.G. Solntseva.

The elegance of the decoration of the drawings and the completeness and clarity of the descriptions aroused the unanimous praise of all our not only Russian, but also foreign newspapers and magazines, which unanimously recognized Monuments of Moscow Antiquity as the first magnificent publication of all those published in Russia to date.”

This joint work of outstanding Russian researchers I.M. Snegirev and F.G. Solntsev along with “Monuments of Ancient Russian Architecture” by F.F. Richter and “Russian Antiquity” by A.A. Martynov and I.M. Snegirev laid the foundation for the education of Russian architects in terms of national heritage.

In May 1830, the work of the artist F.G. began. Solntsev on “copying our ancient customs, clothes, weapons, church and royal utensils, belongings, horse harness and other items belonging to historical, archaeological and ethnographic information” that were in Moscow and stored in the Armory. Solntsev’s work in the Kremlin and in the Armory was assisted by outstanding public and government figures of the 19th century: Metropolitan of Moscow Filaret (Drozdov), President of the Moscow Palace Office, Prince V.V. Yusupov, historian M.P. Pogodin and, of course, A.N. Olenin.

Created by F.G. Solntsev's collection of drawings of Russian antiquity (and there were more than three thousand of them by the end of the 40s) attracted the attention of Emperor Nicholas I, and he granted about one hundred thousand silver rubles for their publication. Such a donation from the emperor for the publication caused a lively response in the public and scientific circles of Russia. In the magazine “Moskvityanin”, historian M.P. Pogodin noted that “lovers of Russian antiquity and history bless the royal generosity” and “are looking forward to the magnificent publication.” And 20 years after the publication of “Antiquities of the Russian State” by M.P. Pogodin will write: “The most important and at the same time most magnificent publication of our monuments, archaeological itself, is contained in “Antiquities of the Russian State.” Archeology has received a rich benefit in this magnificent publication!”

V.V. Stasov, delivering a speech in memory of F.G. Solntsev, highly appreciated “Antiquities of the Russian State”. He said: “The book was to the general taste, it constituted an era in Russian historical self-awareness and had a tremendous influence on the growth of all our latest artistic generations.”

Works of F.G. Solntsev was assisted in every possible way by Emperor Nicholas I, who brought national traditions to the fore. Among them, some attention was paid to Russian historical relics.

The enormous work done by Solntsev to restore the Terem Palace of the Moscow Kremlin was highly appreciated by the emperor. He was awarded a diamond ring and made a Knight of the Order of St. Vladimir 4th degree.

Nicholas I gave a number of orders related to Russian antiquity. In Kyiv in 1832 the remains of the Golden Gate were discovered, and since 1835 a special Commission for the Study of Antiquities operated. The collected collections were transferred to Kiev University, where an archaeological museum was opened on March 17, 1837. In 1847, an essay by the Kyiv civil governor I.I. was published. Fundukley “Review of Kyiv”, and in 1848 - “Review of the graves, ramparts and fortifications of the Kyiv province”. Most of the buildings and things were presented in drawings and drawings. The engravings for the book were created based on the drawings of F.G. Solntseva.

It was F.G. Solntsev has the honor of discovering and restoring famous frescoes and mosaics of the 11th century. in the Kiev St. Sophia Cathedral, the existence of which no one suspected until 1843. “For a long time, ancient images of angels, seraphim and cherubim were noticeable in one of the side compartments of the Cathedral, on the south side, on the vault, and one could look closely and read the Greek inscriptions here,” writes Archpriest I.M. Skvortsov in his book on the restoration of the cathedral, published in 1854. But this was only part of the 8-century frescoes, which still had to be looked for on all the walls of the Cathedral. In 1843, “when traces of fresco images turned out to be in the altar of the border of the Venerables Anthony and Theodosius, after an accidental fall of plaster, Academician F.G. was on some business in Kyiv. Solntsev came up with the idea of ​​the existence of similar images throughout the Yaroslav Church. This idea was confirmed when we tried different places clean whitewash and new paint. Thus, this matter seemed worthy of the attention of the Highest, it was reported to the Sovereign Emperor, and His Majesty deigned to direct the Holy Synod to find means both for the discovery and renewal of ancient frescoes on all the walls and pillars of the Kiev-Sophia Cathedral. As a result, a Committee was formed to renew this council in all parts of it; Moreover, in accordance with the highest will, the entire pictorial part was entrusted to the main supervision of Academician Solntsev.”

Restoring the frescoes and revealing the mosaics of the St. Sophia Cathedral, F.G. Solntsev copied his paintings with exquisite care. In March 1853, he submitted 80 drawings to the Imperial Russian Archaeological Society for publication. The Archaeological Society agreed to undertake the work of publication, deciding to lithochrome and engrave the drawings. At the same time, the emperor ordered that the publication of new drawings by F.G. Solntsev was a continuation of “Antiquities of the Russian State”. But due to lack of funds, the process of preparing the publication dragged on for many years and began only in 1866. In 1871, the first issue of “Antiquities” - “Kiev St. Sophia Cathedral” - was published.

From 1830 to 1853 F.G. Solntsev traveled a lot to ancient Russian cities, researching and sketching objects and ancient monuments, making ethnographic sketches. “From that time to the present, from the antiquities of the Kerch, Moscow, Trinity-Sergius Lavra, New Jerusalem and their environs, in Ryazan, Vladimir, Kiev, Novgorod, Pskov, Smolensk, Chernigov, Vitebsk, Mogilev and many others county towns, as well as in the sacristy of the Imperial Winter Palace in St. Petersburg, made by Solntsev in watercolors and presented to the Sovereign Emperor up to 2000 drawings. In addition, he is engaged in watercolor painting for other Highest orders, as well as for the newly built Kremlin Palace in Moscow. Under his supervision, ancient painting was resumed in the Kiev-Uspensky Lavra and Vladimir Demetrius Cathedrals, and ancient frescoes were restored in the Kiev-Sophia Cathedral.

Solntsev for his labors was most mercifully awarded the following orders: St. Vladimir 4th degree, St. Stanislav 2nd degree with crown and St. Anna, 2nd degree, and was awarded an Academician for the painting performed in the program of the Imperial Academy of Arts.

In 1836 F.G. Solntsev was awarded the title of academician for his work. From 1844 to 1867 he taught icon painting at the St. Petersburg Theological Seminary, for which he received the Order of St. Anna 2nd degree and the Order of St. Vladimir 3rd degree. In 1858-1866. under his supervision, more than 200 iconostases were made for churches in Western Russian provinces by order of the Ministry of State Property. He himself made sketches of images, crosses, banners, etc.

Working with monuments of ancient Russian art and household items, studying monuments of Russian antiquity, F.G. Solntsev was constantly in contact with Russian handwritten books, from which he drew the information necessary to date the objects under study, to determine the place of their creation and purpose.

While working in the Moscow Kremlin in the 30s. XIX century with the objects of Russian antiquity in the Armory Chamber, the artist’s attention was attracted by such masterpieces of Russian literature as the Collection of Svyatoslav of 1073, the Tsar’s letters. At the Moscow Synodal Printing House, he drew attention to the unique Yuryev Gospel and early printed books. F.G. Solntsev copied the most interesting materials: headpieces, capital letters, writing samples from different eras, i.e. everything that could be useful to the artist for understanding, characterizing and reproducing a particular era. In the collection of drawings and watercolors by F.G. Solntsev, stored in the Manuscripts Department of the Russian National Library, there was a whole series of sheets representing ancient Russian book art. It can be assumed that F.G. Solntsev thought about systematizing the visual material contained in handwritten and early printed books, and thought about creating an album on the history of Russian book ornament.

Since the late 30s, when Emperor Nicholas I accepted F.G. Solntsev, under his patronage, for members of the imperial family, the artist created prayer books and other books of spiritual content. One of them was the book “Holidays in the House of the Orthodox Russian Tsar.”

For members of the imperial family F.G. Solntsev also wrote: Prayer book for Empress Alexandra Feodorovna, wife of Nicholas I; Prayer book for Empress Maria Alexandrovna, wife of Alexander II; Prayer books to guardian angels for the Grand Duchesses Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna; Lives of Selected Saints; “Holidays in the House of the Orthodox Russian Tsar”; Life of Sergius of Radonezh; Service to St. Mary Magdalene; “Russian saints, intercessors before God for the Tsar and Holy Rus'”; "Significant days in the House of Emperor Alexander III."

For several years F.G. Solntsev often visited M.P.’s house. Volkonskaya, daughter-in-law of the head of the Palace Chancellery, Chief Marshal P.M. Volkonsky, who took care of the artist after the death of A.N. Venison. Artists, writers, composers gathered in Maria Petrovna’s house, among them Professor N.I. Pokhvisnev, L. Kikina, L. Lvov, M.A. Mezhakova, P.V. Basin. In the circle of M.P. Volkonskaya in the 50s of the 19th century. under the leadership of Solntsev and with his direct participation, the handwritten book “Prayer Book with the Monthly Word” was created.

This handwritten book was written about in the magazine “Capital and Estate”, drawing attention to the obverse Monthly Book located at the end of the book. These are images of saints, as well as the Lord's and Twelve Feasts. “You can imagine how much work it took, for example, to place in a space less than four inches high and about three inches wide - the image of the daily saints celebrated for the whole month. To highlight the faces and vestments of half-inch figures, it was necessary to use a magnifying glass and have a real reserve of patience, and, with all possible diligence, within two or three months it was impossible to complete the table with all the saints of thirty days and the images of the twelve holidays that were part of them.

By order of Princess L.N. Menshikova F.G. Solntsev created a unique, extraordinary beautiful handwritten book “The Gospel of John”. Together with Solntsev, academicians G.G. worked on the book. Gagarin and Premazzi.

The logical result of turning to the Russian manuscript tradition was the creation in the early 60s. XIX century on the instructions of the Holy Synod of the Great Holy Saints. When preparing the Saints, the artist used nine iconographic originals from the 14th - 15th centuries. and performed the work of a historian and ethnographer. They also used many figurative images– icons, drawings, own drawings. In 1866, the Saints were published. They consisted of 12 sheets, 48 ​​weeks each, and each week had 100 figures of saints. Nestor Kukolnik, anticipating the release of Svyatsev, wrote that “the publication would be of great benefit to artists when they perform church painting.” Solntsevo Saints “represented a whole reference lexicon, an archaeological museum.”

It became quite logical for F.G. Solntseva worked on the design and illustration of various printed publications - books and magazines - using the principles of design of Russian handwritten books.

In the 40s, while working in Kyiv, the artist met Metropolitan Philaret (Gumilevsky). This acquaintance grew into close cooperation. For the works undertaken by Filaret, F.G. Solntsev completed more than 400 drawings. The works of Metropolitan Philaret were repeatedly republished in the second half. XIX - early XX centuries and always came out with illustrations by F.G. Solntseva. Many of these illustrations were used for other publications carried out by order of the Holy Synod. Drawings for various kinds of publications dedicated to saints glorified by the Russian Orthodox Church, F.G. Solntsev performed it many times. Among them are illustrations created at the request of I.P. Khrushchov for his books about holy ascetics published in the “People's Readings” series. Drawings by F.G. Solntsev were used in the re-release of “Reflections on the Divine Liturgy” by N.V. Gogol.

The love for Russian history, for “Russian antiquities” brought F.G. together and became friends. Solntseva with M.I. Semevsky – editor of the magazine “Russian Antiquity”. For more than 30 years (until his death), the artist created headers, vignettes and endings for the design of this magazine.

Feeling of love for the ancient Russian book tradition F.G. Solntsev tried to instill in his students, among whom was A.P. Ryabushkin. Together they wrote congratulatory addresses, designing them in Russian style. A.P. Ryabushkin independently created several handwritten books. Old Russian manuscript tradition and handwritten book tradition, the development of which in the 19th century. assisted by F.G. Solntsev, contributed to the fact that Russian artists, including V.M., began to create handwritten books. Vasnetsov, M.V. Nesterov, D.S. Stelletsky.

In 1876, the fiftieth anniversary of the artistic and archaeological activity of F.G. was solemnly celebrated in St. Petersburg. Solntseva. From the Imperial Archaeological Society F.G. Solntsev received a large gold medal embossed on the occasion of the 50th anniversary of artistic and archaeological activity with his portrait. And in the magazine “Russian Antiquity” M.I. Semevsky published the artist’s memoirs “My Life and Artistic and Archaeological Works.” In November 1886, the Academy of Arts celebrated the 50th anniversary of receiving F.G. Solntsev the title of academician.

Little is known about the last 15 years of the artist’s life and work. And these years were full of daily painstaking work for the Synod and the Synodal Printing House, for the magazine “Russian Antiquity”, for various book publishing houses, and fulfilling private orders. During these years, Solntsev continued to carry out extensive work as a trustee for scholarship holders from state peasants - students at the Imperial Academy of Arts.

Solntsev worked until last day, until his death. In the “Formular list of the service of a former member of the Imperial Academy of Arts for compilation full meeting archaeological and ethnographic drawings of the professor and honorary free fellow of the Academy,” the last entry made in 1892 reads: “He died by the will of God.”

The artist was buried with honors at the Volkov cemetery.

Solntsev Fedor Grigorievich (1801-1892)

Irina Bogatskaya. Antiquities of the Russian state in the works of Fyodor Solntsev. "RI" No. 1/2005.

Fyodor Grigorievich Solntsev (1801-1892) - Russian graphic artist was born on April 14, 1801 in the village of Verkhnenikulsky, Mologsky district, Yaroslavl province, into the peasant family of Count Musin-Pushkin. In 1815 he was assigned to the Academy of Arts. The paintings of the aspiring artist drew the attention of the President of the Academy of Arts, Director of the Imperial Public Library A.N. Olenin, he began to attract Solntsev to carry out various works and orders, focusing on artistic and archaeological research. In 1829 F.G. Solntsev performed drawings of Ryazan antiquities: precious plaques, barmas, rings. This work finally connected the life and work of Fyodor Grigorievich with archaeology: his contemporaries called him exclusively an artist-archaeologist, and subsequently his half-century of artistic and archaeological activity was awarded a gold medal from the Imperial Russian Archaeological Society. Since the late 20s. XIX century F.G. Solntsev became the main assistant to A.N. Olenin in the publication of archaeological works. At the beginning of 1830, he painted “Kerch” and “Phanagorian Antiquities”. In the 20s of the XIX century. A.N. Olenin attracted Solntsev to work on creating projects for various uniforms.

The 30s of the 19th century became a new stage in the creative biography of F.G. Solntseva. He worked in Moscow, taking drawings from ancient things stored in the Armory Chamber of the Moscow Kremlin and its cathedrals, and made watercolor sketches of various views of Moscow. Some of these drawings were made for the works of the Russian historian, full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev, who was engaged in the study of Russian antiquities. Created by F.G. Solntsev’s collection of drawings of Russian antiquity from the 6th to the 18th centuries was used in the publication of “Antiquities of the Russian State” (1849-1853). The publication consisted of 500 large-format drawings.

From 1830 to 1853 F.G. Solntsev traveled a lot to ancient Russian cities, researching and sketching objects and ancient monuments, and made ethnographic sketches. In 1847, an essay by the Kyiv civil governor I.I. was published. Fundukleya “Review of Kyiv”, Most of the buildings and things that were described in the “Review of Kyiv” are presented in drawings and drawings. The engravings for the book were created based on the drawings of F.G. Solntseva. F.G. Solntsev restored frescoes and uncovered mosaics of the Kyiv St. Sophia Cathedral (11th century), and copied its paintings with exquisite care. In March 1853, he submitted 80 drawings to the Imperial Russian Archaeological Society for publication. Due to the lack of funds, the process of preparing the publication dragged on for many years and began only in 1866. In 1871, the first issue of “Antiquities” - “Kiev St. Sophia Cathedral” - was published.

In 1836 F.G. Solntsev was awarded the title of academician. From 1844 to 1867 he taught icon painting at the St. Petersburg Theological Seminary, for which he received the Order of St. Anna 2nd degree and the Order of St. Vladimir 3rd degree. In 1858-1866. under his supervision, more than 200 iconostases were made for churches in Western Russian provinces by order of the Ministry of State Property. He himself made sketches of images, crosses, banners, etc.

The artist’s collaboration with the publishing department of the Holy Synod was fruitful. To the publication of “The Lives of Saints Honored by the Orthodox Church,” undertaken in 1885 by Archbishop Philaret of Chernigov, F.G. Solntsev made 400 drawings. Antimins was published based on Solntsev's drawings. With his illustrations, the books “Explanations on the Liturgy” by Dmitrievsky and “Explanations on the Liturgy” by N.V. were published. Gogol and others.

Since the late 30s, when Emperor Nicholas I accepted F.G. Solntsev, under his patronage, for members of the imperial family, the artist created a number of handwritten books: Prayer Book for Empress Alexandra Feodorovna, wife of Nicholas I; Prayer book for Empress Maria Alexandrovna, wife of Alexander II; Prayer books to guardian angels for the Grand Duchesses Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna; Lives of Selected Saints; “Holidays in the House of the Orthodox Russian Tsar”; Life of Sergius of Radonezh; Service to St. Mary Magdalene; “Russian saints, intercessors before God for the Tsar and Holy Rus'”; "Significant days in the House of Emperor Alexander III." In the 50s of the XIX century. The “Prayer Book with the Monthly Word” was created by order and with the participation of Princess M.P. Volkonskaya. An analysis of the painting technique shows that two artists worked on the design. The main work was carried out by F.G. Solntsev and only a small part - P.V. Basin. Around the same years, in 1854, by order of Princess Leonilla Nikolaevna Menshikova F.G. Solntsev created a unique handwritten book, “The Gospel of John,” which in 1887, according to the princess’s will, entered the Manuscript Department of the Imperial Public Library.

The second half of the artist’s life was filled with equally important and serious works. Since the 50s XIX century F.G. Solntsev took part in painting work to improve the interior of the Alexander Nevsky Lavra Cathedral. In 1861-1862 he restored the Holy Trinity Alexander Nevsky Cathedral, and in 1863-1864. oversaw the renovation of the Lavra Church of the Holy Spirit.

In the 1860s. strong friendship and cooperation bound F.G. Solntseva with journalist, publisher and writer M.I. Semevsky. For 30 years, the magazine “Russian Antiquity” was published in the design of the artist Solntsev. In 1873, a special commission of 5 members was formed under the Imperial Russian Archaeological Society, chaired by N.I. Stoyanovsky, for the publication of numerous works by Olenin, who died in 1843. Some of them were published already in 1877. 100 illustrations included in the “Archaeological Works” belonged to F.G. Solntsev. (Antiquities of the Cimmerian Bosphorus, stored in the Imperial Hermitage Museum. Fig. F.G. Solntsev. St. Petersburg, 1854. 2 vols.; Olenin A.N. Archaeological works in 4 vols. edited by N.I. Stoyanovsky with 100 photographs by F.G. Solntsev. St. Petersburg, 1877, 1881, 1882.)

Fyodor Grigorievich Solntsev lived a long life - almost the entire 19th century. Before his eyes, one historical era gave way to another, and the artistic activity of this modest worker of art had a strong impact on the entire era, on the creativity of entire generations, establishing the “Russian style.”

Solntsev Fedor Grigorievich

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Fyodor Grigoryevich Solntsev - Russian painter-archaeologist and restorer, professor at the Imperial Academy of Arts, was born on April 14, 1801 in the village of Verkhne-Nikulskoye, Mologsky district, Yaroslavl province, into the family of serfs of Count Musin-Pushkin. He showed a penchant for drawing already in childhood. On the banks of the Ild River, he collected small colored pebbles, ground them with water and obtained red, blue and green paints. He drew popular prints and icons that he saw in the church. Noticing the boy’s natural talent, the count gave the father of the family, Grigory Kondratyevich, “freedom,” which allowed him to enroll his son in the St. Petersburg Academy of Arts in 1815. The paintings of the aspiring artist drew the attention of the President of the Academy, Director of the Imperial Public Library A.N. Olenin, who began to attract Solntsev to carry out various works and orders, aiming him in the future at artistic and archaeological research. Upon completion of the academic course in 1824, Solntsev was awarded a Small Gold Medal and a 1st degree certificate for the title of class artist for his diploma painting “The Village of Verkhne-Nikulskoye. Peasant family at dinner." In 1827, he was awarded the Great Gold Medal for his canvas on the gospel theme “Render unto Caesar the things that are Caesar's, and to the Gods the things that are God's.” In 1829, Fyodor Grigorievich made drawings of Ryazan antiquities (precious plaques, bars, rings) and from that time finally connected his life and work with archeology - contemporaries began to call the master a painter-archaeologist, and subsequently his half-century of artistic and archaeological activity was awarded a golden medal of the Imperial Russian Archaeological Society. In the 1830s. started new stage in the creative biography of Solntsev. He worked in Moscow, making sketches of ancient things kept in the Armory Chamber of the Moscow Kremlin and its cathedrals, and watercolor sketches of the city. Part of the collection of drawings of Russian antiquity that he created from the 6th to the 18th centuries, which were distinguished by a high degree of detail (historical household items, icons, structures, clothing, weapons, armor, etc.), was later used in the publication of six monumental volumes of “Antiquities of the Russian State” (1849-1853). A large album of 325 drawings, “Types and Costumes of the Nationalities of Russia,” was also released. The artist steadily improved his skills. For the program painting “Meeting of Grand Duke Svyatoslav with the Byzantine Emperor John Tzimiskes,” written on the instructions of the Academy, in 1836 he was awarded the honorary title of academician. The temples of the Moscow Kremlin were restored according to Solntsev's designs. All the interiors of the Kremlin Palace and the Armory were made according to his sketches: wallpaper, floors, carpets, curtains, dishes. Solntsev traveled a lot to ancient Russian cities and monasteries, exploring and sketching objects and ancient monuments, and making ethnographic sketches. More than five thousand drawings and watercolors created by his brush still allow us to get an idea of ​​Russian antiquity today. Dozens of books have been illustrated with its help. He taught icon painting at the St. Petersburg Theological Seminary and taught children painting at the Academy of Arts, for which he received the Order of St. Anna 2nd degree (1848) and St. Vladimir 3rd degree (1861). He restored frescoes and uncovered mosaics of the Kyiv St. Sophia Cathedral (11th century), copying its paintings with pinpoint accuracy. In 1876, in connection with the 50th anniversary artistic activity Solntsev was awarded the title of professor and awarded a gold medal specially knocked out in his honor.

Fyodor Grigorievich Solntsev died in St. Petersburg on March 3, 1892. He was buried at the Volkovsky cemetery. The artist lived a long life - almost the entire 19th century. His works were called the pictorial chronicle of Ancient Rus' and were considered the source of the revival of the “Russian style”. It is to him that Russian science owes the preservation of many precious materials of our history, and to this day he remains the most outstanding representative in the field of artistic archeology and ethnography.

Solntsev, Fedor Grigorievich

Artist-archaeologist, academician of historical and portrait painting, honorary free associate of the Imperial Academy of Arts, b. 14 Apr 1801 in the village of Verkhnenikulsky, Mologsky district, Yaroslavl province, d. March 3, 1892, in St. Petersburg. His father was a peasant of Count Musin-Pushkin. Soon after the birth of his son, he left for St. Petersburg, received a position as a cashier at the imperial theaters and held this position until his death (1840). Boy-S. remained in the village with his mother, who in his sixth year began to teach him to read and write, although without success. Then he studied with the old estate manager, Count Musin-Pushkin, and also with little success. The old teacher often punished the boy, especially for his notebooks, which always turned out to be dirty and painted. S. stayed in the village with his mother until 1815. The father, noticing son's passion, took him to St. Petersburg. In the same year, 1815, S. entered the Academy of Arts as a pensioner, where he made rapid progress: he spent less than six months in the drawing class and was transferred to the plaster class, where he also stayed for a short time and moved to full-scale painting, choosing historical and portrait painting as his specialty. S. spent 9½ years at the academy. In the natural class he received two silver medals. For the painting “Peasant Family” (1824), he received a second gold medal and was left as a pensioner for further improvement. To receive the first gold medal, S. painted the painting “The Savior with the Pharisees according to the Gospel parable about the coin” (1827). Professors S.S. Shchukin, A.E. Egorov, and partly A.G. Varnek had the closest relationship with his artistic work in special classes. The Academy Council awarded Solntsev the first gold medal for the last picture, and it was decided to send him abroad, not to Italy, but to China, to Beijing, for 4 years. With a letter of recommendation from the vice-president of the Academy, A.N. Olenin, S. went to Fr. Joaquinf Bichurin, who had just returned from China, to question him and obtain the necessary information about the country where he was sent. Bichurin dissuaded the young artist from going, intimidating him with the fact that he would have to stay in China for an infinite number of years, because it would be difficult to get out of there. S. refused the business trip, left the boarders of the Academy and began to live by lessons and by painting portraits. He did not show up to Olenin for a long time, fearing his anger.

Olenin drew attention to S. mainly because of his painting “The Peasant Family.” Having created our new science, “Domestic Archaeology,” Olenin intended to make him an illustrator of his scientific works on Russian archeology. Needing money, S. finally decided to turn to Olenin for work. Olenin treated him kindly and instructed him to draw academic uniforms and the painting “The Battle of Lipetsk.” For all this S. received 500 rubles. After that, Olenin invited him to draw “Ryazan Antiquities”, found in 1822 (13 gold plaques strewn with precious stones and pearls, barms, various rings, rings and many others. etc.). S. drew with such skill and so much so that the professor of perspective, M. N. Vorobev, noticing (in Olenin’s office) a plaque on the table, mistook it for a real one and wanted to move it with his hand - and it turned out to be Solntsev’s drawing. Fulfilling Olenin’s instructions and often visiting him, S. became his man in his house and met here with Krylov, Bryullov, Pushkin, Gnedich, Zhukovsky and others. After finishing “Ryazan Antiquities,” Olenin instructed him to draw Kerch and Phanagorian antiquities, which were completed at the beginning of 1830. Olenin was finally convinced of his student’s talents and commitment to the work to which he directed him, and therefore soon led him onto the road where S. became so famous and did so much. On May 9, 1830, S., by order of the Highest, was sent to Moscow and other cities and monasteries to copy senior robes, weapons, church and royal utensils, belongings, horse harnesses, etc. ancient objects. Olenin provided him with instructions on the subject of his upcoming studies and letters of recommendation. Upon his arrival in Moscow, S. set to work diligently and a month and a half later he sent Olenin nine drawings, including two printed ones, which he painted and depicted a cone. Prince Yaroslav Vsevolodovich. In addition, S. sent 6 drawings on transparent paper from various decorations incised with gold, and from some ancient weapons. Olenin in his letter (dated July 24, 1830) thanked him for what he had sent and ordered him to go to Vladimir, Yuryev-Polsky and the Trinity-Sergius Lavra. Money for these business trips was provided from the Academy of Arts. Before leaving Moscow, S. sent Olenin several more drawings and, among other things, the armor or mirrors of Tsar Alexei Mikhailovich. At the same time, he offered to draw the children’s armor as well. Prince Dmitry Donskoy. Olenin thanked him in his letter, but gave him a warning - to be careful and “it is bad to believe all the names given in the armory to various items of our ancient weapons, utensils, clothing and belongings.” He especially advised to beware when testifying about the ownership of certain things to such and such a famous nobleman, prince or tsar, and reports how P. S. Valuev, who was in charge of the Moscow armory workshop, had a passion for arbitrarily attributing ancient objects to different persons , famous in history, - or as Svinin, with his ardent imagination, fantasized about archaeological finds. Olenin teaches Solntsev to act as follows: “If in the oldest inventories of the armory’s workshop there is no confirmation that such and such a thing or object belongs to exactly this person, then each time you should write: armor, armor, armor, mirror, chain mail, helmet, cone , prilbitsa, etc. , outfit, dress, chairs, etc., attributed to such and such a person." The imaginary children's armor of the prince Dmitry Donskoy Olenin asks not to copy and assures him that they never belonged to Dmitry, "for in the century in which he lived (1349-1362), not only in Russia, but nowhere in Asia and Europe was this kind of armor used." Olenin had extensive historical and archaeological knowledge and taught Solntsev a lot: in the first years of Solntsev’s archaeological activity, he was his undisputed leader in the matter acquaintance with archaeological material. Olenin even tried to instill in him the method of studying and sketching antiquities. Here is an example of the detailed advice S. received from him. At the end of August 1830, Olenin writes to him: “I instruct you to mark in great detail in the drawings: a. ) what, according to local legends, was a weapon or any other object, or a special part of it, called? Somehow, in head weapons: helmets, cones, side guards, shoulder pads, misyurki, and parts of them: visors, bridges of the nose, masks, naushiya or lanitniks, butt pads and chainmail nets for them, etc., etc. b) all these names write it down for you in a special notebook, with links or pencil indications of the objects you have drawn under these names. c) On all the details you have drawn and on the writings, clearly put numbers or letters so that when finishing objects (here in St. Petersburg) they can be placed cleanly, accurately, and, finally, d) for the proper effect, during final finishing, you need will have special drawings made with paints, although in a small form, of the general appearance and color of the object you are drawing or some important part of it." This instruction reaches down to subtle details. S. admits that he completely followed the instructions of his leader, and feels great gratitude to him. In the same letter where the above instructions were given, Olenin orders Solntsev to go to Vladimir and sketch the view of the cathedral there, in a small size, and draw the details of its external appearance; then visit the Trinity Lavra, where it was necessary to sketch the antiquities, having any archaeological interest. From Vladimir S. traveled to Yuryev-Polsky and on the way stopped in the village of Lykovo, near which the remains of a shishak were found in the Zhary tract, in Lesnichy Ravine. Prince Yaroslav Vsevolodovich. S. had to check by asking local residents how and under what circumstances the cone was found. Examining the Zhary tract, he makes the assumption that the battle described in the chronicle took place here, that Yaroslav was taken by surprise, unarmed, and his cone was trampled into the mud and thus survived to this day. That it really belonged to Yaroslav, S. concluded from the fact that on the front of the cone is the Archangel Michael with the inscription: “Archangel Michael, help your servant Theodore” (i.e. Yaroslav, since this is his Christian name). This and other examples indicate how well S. knew our chronicles and how skillfully he determined the antiquity of the found thing. S. did not make it to Yuryev-Polsky this time because cholera appeared. Olenin ordered him to return to Moscow and from there to St. Petersburg. Everywhere he was detained by quarantines, and he was not allowed into Moscow at all, and he, having traveled around it, reached St. Petersburg, where his acquaintances were already holding funeral services for him. Under the direct supervision of Olenin, S. began putting his drawings in order. For this trip (to Moscow and Vladimir) he received a diamond ring from the sovereign. During the winter of 1831-1832, S. continued to put in order the drawings made during the trip. In the summer of 1832, he lived at Olenin’s dacha (in Priyutin) and painted bas-reliefs and military fittings for the Alexander Column. Then he copied the image of Isaac of Dalmatia, from which Wekler typed the mosaic. At this time, S.'s work through Olenin became known to Emperor Nicholas I: April 27. 1833 S. was added to the Academy and to the cabinet of His Majesty. In the summer of 1833, S. was sent to Novgorod for archaeological studies. Upon arrival there, he had to wait for permission from the Metropolitan, and this would have lasted a long time if the Archimandrite of the Derevenetsky Monastery, Fr. Ephraim, who invited S. to his monastery to copy antiquities. Having received formal permission from the Metropolitan, S. copied all the more or less interesting antiquities in Novgorod. By the way, he reported to Olenin that in the barns of the St. Sophia Cathedral, under heaps of lime, he found a broken carved gate (made of wood), made by order of Ivan the Terrible. Arriving in St. Petersburg, S. presented Olenin with more than a hundred drawings, and he presented them to the emperor. Nicholas I, who was very pleased with the drawings and ordered to ask the artist what he wanted as a reward. S. did not wish for anything. But he was given a pensioner's salary, a reward was sent, and royal favor was declared. Drawings from Novgorod antiquities are placed in the Moscow Armory Chamber. Some time later, Olenin sent Solntsev back to Moscow “to continue his artistic studies on Russian antiquities.” Previously, S. had to go to Novgorod to check some items and from there go to Torzhok “to sketch the remaining sights in this ancient city.” “I will not prescribe rules for you again,” says Olenin in a letter, “for better execution the task assigned to you, recalling the old Russian proverb: “to teach a scientist is only to spoil him.” So already at this time Olenin recognized Solntsev’s independence, knowledge and skill, and seemed to recognize him as fully prepared for archaeological studies. S. stayed for a month in Novgorod and Torzhok, where he copied several ancient outfits of women belonging to the merchant class. By August 1834, he arrived in Moscow, where he began to study at the Armory, in the Cathedrals of the Assumption, Archangel, etc. During his studies, Metropolitan Philaret never came, who was interested in his work and showed him his favor. S. went to the Trinity-Sergius Lavra, where, among other things, he copied the frame of the Gospel of Prince Vasily Dmitrievich. The military governor general, Prince D.V. Golitsyn, was extremely attentive to the artist, who knew his drawings and appreciated him so much that he even wanted to send some of them to Paris for engraving. However, this intention did not materialize, since the drawings had to be reduced, and they and the text were published in Moscow at the expense of Moscow University, at the request of Prince. Golitsyn. S. constantly informed Olenin about his Moscow works, asking him for advice. By the way, he informed him that in the armory there was a scepter allegedly of Vladimir Monomakh. Olenin instructed him to carry out a strict and detailed examination of all the royal utensils belonging to the scepter: the crown, barma and orb; cope with archival documents and draw conclusions about the antiquity of these things. S. brilliantly completed this assignment and made an unexpected discovery. While drawing the scepter, he looked at everything in detail: he had to draw an image of the twelve annual holidays separately, which were on top of the scepter. One of the holidays was closed with decorations. S. moved these decorations and saw the inscription dated 1638. Olenin instructed him to check this inscription. S. turned to the archives of the Ministry of Foreign Affairs and there he learned from one file that when Tsar Mikhail Feodorovich had a chance to be crowned, there was neither a scepter nor an orb. Therefore, a baking sheet (sample drawing) was sent to Greece, from which the scepter and orb were made. In exactly the same way, Monomakh’s bars were made on a baking sheet in Greece, during the time of Mikhail Feodorovich. Thus, S. proved that not only according to the year he discovered on the scepter, but also according to the archival description, according to the work and the edges of the stones - the scepter, orb and barms, the so-called Monomakhs, did not belong to Monomakh at all. In November 1834, S. asked for permission to visit St. Petersburg in the winter. In addition to household chores, he wanted to put his work in order, finish the drawings he had begun and check them with those previously made and kept by Olenin. For his archaeological and ethnographic activities, S. received the Order of St. on April 7, 1835. Anna 3rd degree. Having rested among his relatives in St. Petersburg and corrected unfinished drawings, S., in the early summer of 1835, again went to Moscow. It should be noted that from that time, for 8 years, although S. visited some other cities, such as Ryazan, Yuryev-Polsky, Smolensk, etc., his main stay was in Moscow. Arriving in Moscow, he made an image of St. Boris, which he found in the synodal sacristy, portraits of Tsar Feodor Ivanovich, Skopin and some other drawings. In October 1835, he sent all these drawings to Olenin. In the same month, S. received from Olenin the program approved by the Academy Council, assigned to him to obtain the degree of academician. The program drawn up by Olenin was as follows: “To present on the largest sheet or two sheets of Bristol paper in watercolor a collection of various works of ancient art found in Russia - and especially Russian antique products, weapons, utensils and clothing, church and royal, and some modern old costumes that survived among the common people. All this should be arranged and grouped in a pleasant way (in one frame), but so clearly and unambiguously that the most interesting parts of each object are visible, and that its distinctive character is strictly preserved in each of them.” To complete the given program, Solntsev had to draw Russian antiquities, especially ancient Russian costumes. Therefore, in order to combine ancient Greek art with our ancient Russian art in one image, S., by the way, decided to paint in watercolor a painting depicting “The Meeting of Prince Svyatoslav Igorevich with the Greek Emperor Tzimiskes.” No matter how experienced S. was in drawing antiquities, completing the program, in his own words, was not easy for him. Olenin took an active part in his work: he helped him with advice, instructions, assisted him with everything he could, for example, he made for him extracts from Greek writers describing the weapons of his time, etc. S. overcame all obstacles: in a year the program was implemented (in 1836), and S. received the title of academician. Almost simultaneously with the preparation of the program, S. was engaged in the restoration of the ancient royal chambers in the Kremlin. These towers consisted of nine rooms and were extremely neglected: some carpenters lived in them. Emperor Nicholas I, a lover and connoisseur of Russian antiquities and historical monuments, decided to restore the royal palace, a precious monument of the 17th century. The vice-president of the Moscow palace office, Baron Bode, suggested that Solntsev make drawings to restore the towers. Before this, the 14 projects presented did not please the sovereign. S. made drawings and presented them to Bode, and he directly sent them to the sovereign. Some time later (1835), Olenin informed Solntsev that the sovereign was extremely pleased with his drawings. In the spring of 1836, S. received an offer from Bode to begin work on the drawings he had drawn up. During the restoration of the towers, S. for the first time clearly and visually revealed his brilliant knowledge in the field of pictorial archeology. He started with the door frames, which were molded and secured with white glue paint. What could not be made out, he supplemented, in accordance with the general character of the surviving decorations. He did the same with the furnishings of the towers. In the attics and basements of country palaces (Izmailovsky, Kolomensky, etc.) he found some ancient things, for example. chair, armchair; Based on them, S. made as many copies as were required for all 9 rooms; a bed cornice was found, for which columns matching the design were made; they found pillowcases, pillows, a carpet embroidered by Tsarevna Sofia Alekseevna, a table for Tsar Alexei Mikhailovich, in the village of Kolomenskoye they found a tiled stove and, having repaired some damaged tiles, they put it into use; Some other antiques were also found. Having collected all this belongings, supplementing the missing things with new ones, made according to drawings carefully compiled by Solntsev from various ancient decorations and objects, the tower was thus restored. Solntsev’s assistants were: student of the Moscow Architectural School Gerasimov and freelance painter Kiselev. By the end of 1836 the work was completed. At this time, Emperor Nicholas I arrived in Moscow and inspected the towers, called to life after a long period of abandonment and desolation. The Emperor was very pleased with the towers, treated Solntsev kindly, introduced him to the Empress, and granted him the Order of St. Vladimir 4th degree and a diamond ring. The Emperor had already noticed Solntsev earlier; now he finally paid attention to him and really appreciated his talents. The Emperor apparently liked Solntsev’s enormous archaeological knowledge, his love and understanding of Russian antiquities. When examining any antiquities, the Emperor constantly turned to Solntsev for clarification, if he was available. The Tsar instructed Solntsev to copy many of the things located in the Armory Chamber and in the Annunciation Cathedral. For example, the image of the Don B. Mother, the royal place, all the head decorations, the so-called crown of Monomakh, the crowns of Astrakhan, Siberia, Kazan and various other things. By the way, Solntsev’s scientific merit should also be considered his discovery that the Astrakhan crown was made under Mikhail Feodorovich, and the Siberian crown for Alexei Mikhailovich on the occasion of their funeral. Olenin thanked Solntsev for such a discovery, and the envious Malinovsky, who looked after the archive, forbade Solntsev to be allowed into the archive. In 1836, S. also traveled to Pskov together with the artist Bryullov, who at that time was elevated to the title of professor at the Academy and, in the form of a program for this title, began to execute a huge painting: “The Siege of Pskov.” For this work, he needed to visit Pskov, and he expressed a desire for Solntsev to be sent with him. Olenin gave the latter a lot of instructions regarding the copying of antiquities. According to Solntsev, Bryullov greatly disturbed him, carried him away to guests or forced him to sit next to him as a nurse. Nevertheless, S. copied the famous breach in the wall of Bathory. In the Pechersky Monastery, where they also went, S. copied ancient sabers, reeds, spears, pipes and some other things, and all this was copied on the sly from Bryullov. Since 1837, S., although from time to time he traveled to other cities to study antiquities, his main stay, however, was in Moscow. Here he still had a lot of work to do, both on the direct orders of the Highest, and on the instructions of Olenin. So, immediately after the restoration of the towers, the Emperor ordered Solntsev to restore the Nativity and Holy Cross churches located in them. Then, when marching iconostases, according to legend, of Peter the Great, the Terrible and Elizabeth Petrovna were found in St. Petersburg, the Emperor ordered them to be restored. Also, by order of the Highest, S. took part in the construction of the Great Palace, built on the site of the previous one, after 1812. , half wooden. Having discovered, while digging ditches for the foundation of the Great Palace in Moscow, a church filled with empty tar barrels, S. restored it. This is the church in the name of the Resurrection of Lazarus. The emergence of the Russian architectural style was also partly due to Solntseva, because the architect Ton, who became famous for the construction of temples and buildings in the Russian style, drew up his first design for a Russian church in the 17th century based on the drawings of Solntsev and Efimov. S. worked quite a lot for the interior decoration of the Grand Palace. He prepared drawings for the parquet floors of the palace, drew up drawings of carpets for the rooms, drawings of wooden doors for the halls of the palace (St. George's, Alexandrovskaya, St. Andrew's and Catherine's) and for the state rooms. All this was examined and approved by the sovereign himself. For almost two years (1839-1840) S. was busy making drawings for the new Grand Kremlin Palace. Simultaneously with the work on the interior decoration of the Great New Palace (1837-1838; 1839-1840), S. was engaged in archaeological research, on behalf of Olenin, not only in Moscow, but also in other cities; traveled to Alexandrov, Suzdal, Vladimir and other cities and carried out his instructions so conscientiously and with such knowledge that Olenin was constantly pleased with him and thanked him. S. especially pleased him with the discovery of a “new archaeological treasure”; - these were the bronze doors of the temple from the time of Vasily, Archbishop of Novgorod. On these doors there are 12 annual holidays and many saints inscribed with gold wire. On behalf of Olenin, S. painted for Academician Imper. Brosset Academy of Sciences, - the ark, located in the sacristy of the Assumption Cathedral in Moscow, is the same ark in which the nail from the Cross of Christ was kept (1838). By the end of this period of Solntsev’s activity, an extremely large number of his drawings had accumulated, and Olenin tried to lithograph them for the intended publication of “Antiquities of the Russian State.” But these attempts and undertakings failed and dragged on until 1846. In 1839-1840, S. was busy preparing drawings for the new Grand Kremlin Palace. But at the same time, Olenin repeatedly gave him various instructions, for example. S. made an exact copy of the drawings depicting Grand Duke Svyatoslav Igorevich, as well as the drawing “Moscow ambassadors in Florence, in the 16th century.” S. also confirmed with various proofs that the “Tatar” cone, located in the Armory under the name “Erikhonets,” really belonged to Grand Duke Alexander Nevsky, but was subsequently decorated with various stones and notches made of gold, with Tatar inscriptions. Not content with reproducing antiquities, S. painted the costumes of peasant women from Tula, Tver, Novgorod and other provinces. These drawings, made in watercolor, were presented to the sovereign in 1842. For all these works S. was granted: April 17. 1839 - Order of St. Stanislav 2nd degree, and on August 22, 1841 received a badge of honor for impeccable service in writing for fifteen years of archaeological and artistic activity. 1843 was difficult for Solntsev, since this year his patron, leader and friend, collaborator in his activities, A. N. Olenin, died. In his memoirs, S. constantly speaks with reverence about his teacher in the field of archeology. From then on, the Emperor took Solntsev under his personal protection and gave him a number of assignments and business trips, but not to Moscow, but to Kyiv.

From here begins a new period of activity of the famous artist-archaeologist. The Emperor sent him to Kyiv for the usual research on Russian antiquities. At the end of 1842, someone reported to the Emperor that during the amendments and alterations of the Kyiv Assumption Cathedral, carried out by order of Metropolitan of Kyiv Philaret, they allegedly began to spoil the one-of-a-kind painting of the 17th century. To verify this circumstance, the Academy appointed Professor A.T. Markov, about which a special report was presented to the sovereign. The Emperor crossed out Markov's surname and wrote in Solntsev's surname. From that time on, S. received all subsequent business trips directly from the Emperor. Arriving in Kyiv, S. immediately began examining the painting of the cathedral and found that no damage was noticeable, but that the ancient painting was being restored somewhat brightly. At the request of the Metropolitan, S. showed the painters how to restore the ancient painting, and reported to the Minister of the Court, Prince Volkonsky, that no damage had been found. Three weeks later, in June 1843, S. received an order from Prince Volkonsky: to inspect, at the end of the assignment entrusted to him, both in Kyiv and in Vitebsk, Mogilev and Chernigov, on the return route, and remove drawings from the antiquities there. Solntsev fulfilled this order and, returning to St. Petersburg, presented his drawings to Prince Volkonsky. Less than a few days later, Solntsev was again ordered to immediately go to Kyiv and wait for the Emperor there. It should be noted that whenever the Emperor visited Kyiv, S. had to be there and explain to him all the sights. So the Emperor valued and believed in his archaeological knowledge.

It was S. who paid special attention to the Kiev St. Sophia Cathedral, where he discovered ancient painting of the 11th century. She was hiding under the new plaster. Such a precious archaeological discovery is one of Solntsev’s most important achievements. This was in 1843. The Emperor, having learned about the discovery, became very interested in it and ordered the restoration of ancient painting. Since then, the famous paintings and mosaics of the Kiev-Sophia Cathedral of the 11th century have become known in archeology. On April 27, 1844, S. was appointed a member of a committee established in Moscow for the publication of drawings from Russian antiquities that he had taken, under the leadership of Olenin. But their actual publication began in 1846 and lasted until 1853. Emperor Nicholas I donated 100 thousand rubles for the publication of Antiquities.

Text processing was entrusted to Zeltman and Snigerev. The text describing the drawings is not distinguished by its merits. The editors of the publication "Antiquities" were so hostile to Solntsev that they did not allow his name to be signed on the first prints of the drawings. Emperor Nicholas drew attention to this, ordered the publication commission to be reprimanded and ordered that Solntsev’s name be displayed on every sheet of drawings. On March 24, 1844, S. was appointed to the St. Petersburg Theological Seminary as a mentor and observer in the class of icon painting and remained in this position until 1867. In the summer of 1844, S. worked on the restoration of the ancient painting of the Kiev-Sophia Cathedral. It is curious that Metropolitan Philaret was against the renewal, on the grounds that this “will lead the Old Believers to encouragement in their false wisdom.” On September 24, 1844, for the corrections made to the painting in the Kiev Assumption Cathedral and for the restoration of the entire St. Sophia Cathedral, S. was awarded a diamond ring; in 1847 he received the Order of St. Anna 2 tbsp. for teaching at the St. Petersburg Theological Academy; in 1849 - for his work on the construction of the Moscow Kremlin Palace, Order of St. Anna 2 tbsp. with crowns, a gold medal and 1200 rubles. awards. In 1852 for service in St. Petersburg. spirit. Seminary Solntsev was declared Royal favor. Work on the restoration of ancient painting in the Kiev Cathedral continued until 1851, when it was completed. The inscription in script on one of the arches of the cathedral states that “this temple was renovated according to open ancient frescoes and decorated picturesquely under the leadership of Academician Solntsev... Summer from R. Chr. 1851.” In addition to these works, S. was also engaged in others: he made drawings of some temples, the interior of the Kiev Pechersk Lavra Cathedral and participated in the “Temporary Commission for the analysis of ancient acts of southwestern Russia,” established in 1844, under the chairmanship of Bibikov. S. was also interested in caves, where he found several ancient glass dishes and caps in which myrrh-streaming chapters were once kept. In general, S. visited Kyiv every summer from 1843 to 1853 and brought with him to St. Petersburg each time from 80 to 100 drawings, handed them over to Prince Volkonsky when reporting, and he handed them over to the Sovereign. At first these drawings were kept in the Public Library, and then, by order of Nicholas I, they were placed in the Moscow Armory Chamber. During each visit to Kyiv, Emperor Nicholas I talked with Solntsev, caressed him and gave him gifts. As a reward for his work, the Emperor wanted to send him to Palestine and Rome for rest and improvement. But this did not materialize after the death of Emperor Nicholas I. Solntsev's official business trips ended in 1853, when the Crimean campaign began. The new reign, busy with reforms, also had little interest in archaeological discoveries, and S. recedes into the background, although his activity was far from over. But the best, most brilliant period of life had passed and approaching old age required rest or, at least, a weakening of activity. Until 1853, S. traveled to find and copy Russian antiquities in the following cities: Pskov, Novgorod, Ryazan (new and old), Moscow, Trinity Lavra, New Jerusalem, Alexandrovskaya Sloboda, Vladimir on the Klyazma, Suzdal, Tver, Izborsk, Pechora, Kyiv, Orel, Yuryev Polsky, Vitebsk, Mogilev. One can even say that there seems to be no ancient Russian city, historical place, monastery or temple that S. has not visited. He had to work a lot, search a lot and carefully, according to documents, examine the history of the found objects; “something,” he says, “may seem very interesting in archaeological terms, but look at it more closely, look at the inventory, and it turns out that The thing is not at all ancient, but made relatively recently.” In his archaeological searches, S. often encountered obstacles erected by the ignorance and hostility of the keepers of antiquities. When Solntsev did not have letters of recommendation or official instructions, he resorted to cunning: he pretended to be some wandering pilgrim, met the rector of a church or monastery, and then had the opportunity to examine the objects that interested him; in order to win over people, he had to paint portraits of church abbots, priests, and monks for free. Sometimes they gave him antiques, and over time Solntsev formed a small museum of antiquities, for which he was given 20 thousand rubles. However, in 1848, most of this collection was stolen from him in his St. Petersburg apartment. By the way, two arquebuses, two berendeykas, reeds, throwing spears, several ancient arrows, sashes, two caftans, two cones, several women's jewelry, etc. were stolen. Since 1853, S. did not receive any business trips, he taught at the seminary, worked for St. Isaac's Cathedral and carried out orders from the Holy Synod. The Synod treated Solntsev very well. Relations began in 1842, when the Synod wanted to entrust him with correcting the ancient wall paintings in the Novgorod Znamensky Cathedral. Although this failed, the following year S. wrote an antimension, printed photographs from which are still sent to all Orthodox churches in Russia. Since 1844, S. worked especially hard for the Synod: he painted various saints, made drawings for the prayer book, which was sent as a gift to Napoleon III, prepared drawings for the large-format Gospel, wrote corollas, decorations for various letters, etc. S. wrote the calendar for the Synod, on which he worked for 1½ years, they consisted of 12 sheets of 48 weeks each, and each week had 100 figures. For all this work, the Synod declared its blessing to Solntsev. From 1858, S. served for 8 years in the Ministry of State Property, in charge of the production of iconostases for churches in the western provinces. During his service, up to 200 iconostases were made and sent. S. compiled sketches here for images of saints, crosses, banners, etc. Since the same 1858, he was entrusted with the supervision of the Academy's students from former state peasants. The title of trustee of peasant artists remained with him until his death. In 1859, S. was again sent to Vladimir, “to inspect the cathedral there and other ancient churches, to discover ancient icons painted on the walls and wall paintings in general.” In the same year, S. received a gold medal for his work on St. Isaac's Cathedral and was assigned to the archaeological commission (December 20, 1859) to search for ancient wall paintings in ancient Orthodox churches. In 1863 he was elected by the Academy of Arts to honorary free society. In 1876, it was the fiftieth anniversary of the day S. received the title of academician. The Archaeological Society, in reward for over half a century of archaeological and artistic activity of Feodor Grigorievich, presented him with a gold medal with his portrait. The Academy of Arts also joined in honoring the venerable artist-archaeologist: S. was elevated to the rank of professor and received 2,500 rubles. awards. In 1886, in memory of 60 years of service with the rank of academician, S. received the rank of full state councilor. In 1888, for thirty years of leadership of peasant boys, students of the Academy, S. received the Order of St. Stanislav 1st Art. Despite his advanced age, S. was always busy: people who visited him found him in his office drawing or reading; he continued to work on icons for St. Isaac's Cathedral (in the 70s) with mosaics and paints. S. was always distinguished by his piety, and in recent years in his life he especially loved going to services at the Alexander Nevsky Lavra, even not in holidays; He gave to the poor, who positively besieged his house in the morning. Along 3rd Street and Degtyarnaya (on Peski, where Solntsev’s house was) the beggars lined up and waited for Solntsev, who gave them all a dime. In dealing with friends and relatives, S. was very affectionate and amiable, he loved to joke and tell anecdotes from his long and interesting life. He died at a ripe old age, at the age of 92, in St. Petersburg. Solntsev's services to Russian art, to Russian style and to Russian archeology are enormous. During his more than half a century of tireless activity, he repeatedly visited the most ancient cities and monasteries of Russia for archaeological research and everywhere found, critically examined and preserved in his excellent drawings the most diverse monuments of the religious, state and domestic life of our ancestors, dating back to the 12th and 11th centuries. Seven huge volumes of the monumental publication: “Antiquities of the Russian State” are decorated with over 500 drawings, executed solely by Solntsev.

These drawings make up only a 10th share of the total number of Solntsev’s works, executed with extraordinary grace, vivid colors and precision. Solntsev’s brush resurrected in living images all aspects of the life of pre-Petrine Rus'. In Solntsev's drawings, a lover of antiquity will find the most revered icons by the people; there are altar and pectoral crosses, church utensils, vestments of clergy; objects of ancient royal use: crowns, scepters, orbs, barmas, etc.; military armor, horse harnesses, all kinds of weapons; the most ancient grand-ducal, royal, boyar and local folk attire, and not only in images of clothing, but in portraits, such as, for example: Prince Repnin, Skopin-Shuisky, kings: Mikhail Feodorovich, Alexey Mikhailovich, Feodor, John and Peter Alekseevich, patriarchs : Filaret, Nikon: queens and princesses of the 17th century. and many more etc. Further, Solntsev’s drawings reproduce ancient dining room and household utensils, armchairs, benches, tables, stands, etc., and finally, monuments of ancient Russian architecture in all the smallest details; here are the facades of temples and private buildings, sections, plans, individual parts: windows, doors, grilles, vaults, domes with scales attached. S. contributed greatly to the creation of a unique Russian style in architecture and crafts: carpentry, turning, pottery, enamel, gold and silversmithing. In 1846-1848, on the occasion of the wedding of Grand Duke Konstantin Nikolaevich, Solntsev was commissioned to make drawings for various utensils: porcelain, crystal, bronze, gold and silver items in the Russian style, which was then an innovation. The English store refused to make things according to the prepared designs, finding that they would not be beautiful enough, and ordered samples from England. But Sazikov fulfilled orders based on Solntsev’s drawings, and the things turned out to be better than those exhibited in the English store. Subsequently, Russian manufacturers and even an English store often approached Solntsev with requests for drawings. Drawing Russian antiquities from life, S. was never the only diligent copyist. On the contrary, he subjected the copied objects to a critical assessment, checked the time of the construction of temples, the manufacture of utensils, the forging and minting of weapons, armor and vestments, re-reading chronicles, many monastic charters, documents, acts, inventories, etc. These purely scientific works were rewarded with chronological discoveries: S. accurately determined the identity of the found cone. book Alexander Nevsky, the helmet of Yaroslav Vsevolodovich, doors from the time of the Terrible, various banners, armor, royal household items, etc. d. He restored the royal palaces of the 17th century; Through his efforts and art, some shrines of ancient Kyiv were saved and restored. Solntsev’s artistic and archaeological works are all the more worthy of respect because in them he had no predecessors and almost no successors. He did not follow the beaten path, but paved it himself and, without weakening in the fight against many obstacles, he steadily walked towards his goal. For such a feat, in addition to talent and willpower, it was necessary to passionately love both the homeland and science. All Solntsev’s activities prove that he loved them with ardent love. List of Solntsev’s works, except for minor works and works for medals and for the title of academician:

1) Evangelist Matthew in full size, with angels on the cornices, glue paints, on the ceiling of the church in the women's patriotic society. 2) Evangelist Matthew, painted in a sail vault, on fake marble in the Kazan Cathedral. 3) Gold barmas found in Ryazan. 4) Phanagorian and Kerch antiquities. 5) Drawings from various remains of antiquity in Moscow, Vladimir, Novgorod, Tver and other cities. 6) Project for the restoration of rooms in the tower palace and the churches of the Nativity of the Blessed Virgin Mary, Lazarus' Resurrection and the Exaltation of the Life-Giving Cross. 7) For the newly rebuilt Kremlin palace, drawings: carpets, parquet floors, doors and other interior decorations. 8) Restoration of ancient iconostases on silk fabrics. 9) Drawings for eight bronze arks (for storing state documents). 10) Drawings for porcelain tea sets in the old Russian style (for the wedding of Grand Duke Konstantin Nikolaevich). 11) Prayer book drawn on parchment for the Emperor. Alexandra Fedorovna. 12) Prayer book for the Emperor. Maria Alexandrovna. 13) Prayer books to guardian angels for the Grand Duchesses Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna. 14) The same prayer book for the Emperor. Maria Alexandrovna and, moreover, the lives of selected saints, including 169 faces and several images of the Mother of God. 15) Book: “Holidays in the house of the Orthodox Russian Tsar” (for Imperial Maria Al.). 16) Full life(in drawings) Sergius of Radonezh the Wonderworker from 30 scenes and the Service of St. Mary Magdalene, Okoya 30 sheets. 17) “Russian saints, representatives before God for the Tsar and Holy Rus',” a book with 50 images and prayers with ornaments (for the 25th anniversary of Aldra II). 18) Album for Imperial. Alex. III, entitled: “Significant days in the house of Emperor Aldra III.” 19) 37 watercolor drawings for Gilles’s work related to the publication of “Antiquities of the Cimmerian Bosphorus”. 20) Complete calendar for 52 weeks (to General Khrulev). 21) Complete calendar, in a smaller size (for the Holy Synod). 22) Drawings for various prayer books, akathists, antimensions, etc., which Solntsev compiled for the Synod over the course of 40 years, 23) Prayer book for the book. Volkonskaya (morning prayers, liturgies and evening prayers) and the complete calendar, in miniature, watercolor, on parchment, more than 100 sheets. 24) 24 sheets of drawings for Dmitrevsky’s liturgy. 25) 400 persons in the “Russian calendar”, published by Filaret, archbishop. Chernigovsky. 26) Restoration of ancient painting and mosaics in the Kiev St. Sophia Cathedral. 27) 3000 drawings of Russian antiquities, drawn during trips to the ancient cities of Russia. Of these, 700 were published in chromolithography in the Antiquities of the Russian State, and the rest are kept in the Moscow Armory Chamber. 28) After Solntsev’s death, the heirs were left with 300 drawings of Russian national clothes and various headdresses. 29) In the Moscow gallery br. Tretyakov there is a watercolor by Solntsev: “The Appearance of an Angel to the High Priest Zacharias.”

Archive of the Academy of Arts. Cases: No. 21 (1825), № 81 (1830), № 42 (1836), № 48 (1838); № 42 (1843) № 89 (1844) № 1 (1858) No. 105 (1858) No. 93 (1859) No. 26 (1361), affairs of the president. No. 11a (1825) No. 31 (1828) No. 9 (1830), No. 12-14 (1831), No. 32 (1832) and No. 14 (1839). - “Russian Antiquity”, 1876, vol. 15-17 (I - III. V, VI), memoirs of Solntsev himself. - "Russian Antiquity", 1887, v. 54 (713-377: Belozerskaya, Biographical sketch of F. G. Solntsev). - Bulletin of Fine Arts, vol. I, 1883, p. 471-482 (Article by Mr. Sobko). - Izvestia Imp. Russian Archaeological Islands, VIII, 298 (Resolution on knocking out a gold medal in honor of Solntsev). - Verkhovets, F. G. Solntsev, artist-archaeologist. Brochure. St. Petersburg 1899 - Petrov, Mater. for ist. I. Ak. Hood. II, 132, 167, 172, 190, 194, 195, 214, 222, 295, 328, 342, 431; III, 423, 430.

E. Tarasov.

(Polovtsov)

Solntsev, Fedor Grigorievich

Painter and archaeologist (1801-1892). His father, a serf, gr. Musin-Pushkin, placed his son among the students of the Academy of Arts. (in 1815). Here, studying under the guidance of S. Shchukin and A. Egorov, S. quickly showed success in painting. At the end of the academic course, in 1824, for the painting “Peasant Family”, he received a small sum. gold medal, and in 1827, for the painting “Render the things of Caesar to Caesar, and the things of God to the Gods” - a large gold medal. After this, S. left the Academy and for some time earned his living by taking drawing lessons, painting portraits, etc. The then president of the Academy, A. Olenin, began to direct S. on the path on which S. later gained fame. Thanks to Olenin, the young artist became an archaeologist-draftsman and for the rest of his life he was chained to the study and depiction of various ancient monuments. In 1830, by order of the Highest, he was sent to Moscow and other places of the Empire “to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items.” S. carefully reproduced in watercolor every antique thing that had any historical significance, and sent all his drawings to Olenin, who constantly supervised these works (especially the first years) and gave him detailed instructions. For his work, S. was included in the Academy and the Cabinet of His Majesty in 1833. From this time on, a whole series of S.’s trips began to the ancient cities of Russia to sketch Russian antiquities. Until 1836, he worked in Novgorod, Ryazan, Moscow, Torzhok and other cities; in Moscow he studied at the Armory Chamber, in the Assumption and Archangel Cathedrals and in other places. Copying and studying in detail the royal utensils in the Armory Chamber, he made the discovery that the so-called crown and bars of Monomakh were made under Tsar Mikhail Fedorovich, in Greece. Besides, he did. visits to Ryazan, Yuryev-Polsky, Smolensk and other cities. At the end of 1835 he received from Acad. program for obtaining the title of academician: paint a picture “Meeting of Grand Duke Svyatoslav with John Tzimiskes.” A year later, this painting (found in the museum of Emperor Alexander III) was completed, and S. was made an academician. Almost simultaneously with this, S. was engaged in the restoration of the ancient royal towers in the Kremlin, composed projects for their restoration, and according to them, the towers were completely restored by the end of 1836. Emperor Nicholas, who unconditionally believed in S.'s knowledge, instructed him to copy many of the things located in the Armory Chamber and in the Annunciation Cathedral. Of the enormous number of Solntsevo drawings depicting antiquities - and there are more than 3000 of them in total - not a single one escaped the eye of the Sovereign. Fulfilling his instructions, S. determined, among other things, that it was so. the so-called crown of the Astrakhan kingdom was made under Mikhail Fedorovich, and the Siberian crown - under Alexei Mikhailovich. From 1837 to 1843 S. worked mainly in Moscow, although he visited other ancient cities. At the same time, he took part in the construction of the Moscow Grand Palace, built on the site of the previous one, which burned down in 1812. When, in 1843, Olenin died, the Emperor himself took charge of S. and sent him to Kyiv to copy and restore local antiquities . This is where it starts new era S.'s career, which lasted ten years. In the summer he usually worked in Kyiv, and in the winter he moved to St. Petersburg, where he brought with him each time from 80 to 100 drawings, which he presented to the Emperor. While examining the Kiev St. Sophia Cathedral, he discovered wall frescoes there from the 11th century. Not limiting himself to this discovery, which can be considered one of S.’s most important merits, he began, by order of the Highest, to restore the interior of the said cathedral, as far as possible, in the form in which it was, and completed this work in 1851. Moreover, S. He photographed views of some temples, made drawings of the interior of the Kiev Pechersk Lavra Cathedral, and participated in a temporary commission to analyze the ancient acts of the South-West. Russia, established in 1844, and was appointed as a member of the committee for the publication of the drawings he took. This publication lasted from 1846 to 1853 and amounted to six huge volumes of “Antiquities of the Russian State”, in which most of the drawings (up to 700) belong to S. The Crimean War, the death of Emperor Nicholas I and the advent of the era of reforms during the reign of his successor on the throne - all this pushed S. into the background. However, from 1853 he worked for St. Petersburg. St. Isaac's Cathedral, carried out orders from St. synod, what are, for example, drawings of antimensions, images of saints for placement in prayer books, calendars, etc.; for eight years he was in charge of the production of iconostases for churches in the west. provinces Since 1859, S. again receives official business trips (for example, to Vladimir-on-Klyazma) and is ranked among the imp. archaeological commission. In view of his merits, the Academy of Arts. in 1863 she gave him the title of her honorary free associate. In 1876, the 50th anniversary of S.’s work was solemnly celebrated, and he was presented with a gold medal knocked out in his honor, and he was elevated to the rank of professor. Not possessing a particularly bright artistic talent, S. took a very prominent place in the history of Russian art with his tireless activity in the field of studying artistic monuments of Russian antiquity: he executed countless drawings of all kinds of Russian antiquities, many of which were later published and made a precious contribution to our archeology. Also very curious are the drawings of common folk, now mostly extinct, costumes from different regions of Russia, which S. lovingly studied and reproduced during his travels; finally, both Russian icon painting and the ornamentation of buildings and utensils, mainly church furniture, owe a lot to him.

Solntsev Fedor Grigorievich Full members of the All-Russian Academy of Agricultural Sciences, Russian Academy of Agricultural Sciences - List of full members of the National Academy of Sciences of Ukraine since 1918. The list includes 597 scientists. The specialization of academicians is indicated according to scientific activity and it may diverge from the activity for which the scientist... ... Wikipedia