Horse tamer. Interesting facts from the life of the sculptor Peter Klodt. Peter Klodt, sculptor: biography and works Peter Klodt short biography
Boy, boy, officer
The family of the future sculptor consisted of hereditary military men. As is often the case, the surname was not rich, although well-born. His great-great-grandfather was one of the famous figures of the Northern War, was a major general in the Swedish service. The sculptor's father was a military general, fought in the Patriotic War of 1812. The portrait of the illustrious general occupies a worthy place in the gallery of the Winter Palace.
Despite the fact that P.K.Klodt was born in 1805 in St. Petersburg, he spent his childhood and youth in Omsk, where his father served as chief of staff of the Separate Siberian Corps. There, far from the standards of metropolitan education, far from European culture, the baron's penchant for carving, modeling and drawing was manifested. Most of all, the boy liked to portray horses, he saw a special charm in them.
Like his ancestors, the boy was preparing for a military career. In 1822, at the age of 17, he returned to the capital and entered the artillery school. All the free time that remained from learning the military craft, he gave to his hobby:
It is also known that during this period Klodt devoted a lot of time to studying the postures, gaits and habits of horses. "Comprehending the horse as a subject of artistic creation, he had no other mentor than nature." .
After graduating from college, the future sculptor received the rank of second lieutenant. The officer served in the training artillery brigade until the age of 23, and after that in 1828 he left military service and decided to continue to engage exclusively in sculpture.
Sculptor
For two years Klodt studied independently, copied modern and antique works of art and worked from nature. Since 1830 he has been a volunteer at the Academy of Arts, his teachers were the rector of the Academy I. P. Martos, as well as the masters of sculpture S. I. Galberg and B. I. Orlovsky. They, approving the work and talent of the young sculptor, helped him achieve success.
Klodt's talent and tenacity brought unexpected dividends: from the beginning of the 1830s, his statuettes depicting horses began to enjoy great success.
Narva Triumphal Gates
Horses of the Narva Gate
A strong continuation of his career was a large government order for the sculptural decoration of the Narva Gate, together with such experienced sculptors as S. S. Pimenov and V. I. Demut-Malinovsky. Six horses are installed on the attic of the arch, carrying the chariot of the goddess of glory, made of forged copper according to Klodt's model in 1833. Unlike the classical depictions of this plot, the horses performed by Klodt rush forward and even rears up. Moreover, the entire sculptural composition gives the impression of a rapid movement.
First composition
Anichkov bridge
In late 1832 - early 1833, the sculptor received a new government order for the execution of two sculptural groups to decorate the palace pier on the Admiralty Embankment. In the summer of 1833, Klodt made models for the project, and in August of the same year the models were approved by the emperor and delivered for discussion to the Academy of Arts. The members of the Academic Council expressed their complete satisfaction with the work of the sculptor and it was decided to complete both first groups in full.
After this success in the work on this project, there was a break due to the fact that Klodt was completing work on the sculptural composition of the Narva Gate. This break ended in the mid-1830s, and work on the project continued. Emperor Nicholas I, who oversaw the pier project, did not approve of the combination of lions and horses. Instead of the Dioscuri, vases were installed on the pier.
PK Klodt drew attention to the project of rebuilding the Anichkov Bridge and suggested placing the sculptures not on the piers of the Admiralteyskaya embankment or on the Admiralteisky Boulevard, but to transfer them to the supports of the Anichkov Bridge.
Second composition
The proposal was approved and the new project included the installation of two pairs of sculptures on four pedestals on the west and east sides of the bridge. By 1838, the first group had been realized in kind and ready to be translated into bronze. Suddenly an insurmountable obstacle arose: he suddenly died without leaving a successor, the head of the Foundry House of the Imperial Academy of Arts V.P. Ekimov. Without this person, the casting of sculptures was impossible, and the sculptor decided to independently supervise the execution of the casting work.
Incarnation in bronze
To carry out the work, the skills of the foundations of foundry were useful to him, which he was taught at the artillery school, practically mastered in the service in the artillery and used in the lessons of V.P. Ekimov when Klodt was a volunteer at the Academy. Having headed the Foundry yard in 1838, he took up the improvement, bringing technological innovations and modern methods to the work of production. The fact that the sculptor became a caster brought unexpected results: most of the cast statues did not require additional processing (chasing or corrections). To achieve this result, meticulous work on the wax original was required with reproduction of the smallest possibilities and a complete casting of the composition (up to this point, such large sculptures were cast in parts). Between 1838 and 1841, the sculptor managed to make two compositions in bronze and began preparations for casting a second pair of sculptures.
Third composition
On November 20, 1841, the bridge was opened after restoration. On the side pedestals there were two pairs of sculptural compositions: bronze groups were on the right bank of the Fontanka River (from the Admiralty side), on the pedestals of the left bank painted plaster copies were installed.
Re-castings were made in 1842, but they did not reach the bridge, the emperor presented this pair to the Prussian king Frederick William III and, on his instructions, the sculptures went to Berlin to decorate the main gate of the imperial palace.
In 1843-1844 copies were made again. From 1844 to the spring of 1846, they remained on the pedestals of the Anichkov Bridge, then Nicholas I sent them to the "King of the Two Sicilies" Victor Emmanuel II (to the Royal Palace in Naples).
Also, copies of sculptures are installed in gardens and palace buildings in Russia: in the vicinity of St. Petersburg Strelna and Petrodvorets, as well as on the territory of the Golitsyns' estate in Kuzminki near Moscow, the Kuzminki-Vlakhernskoye estate.
Fourth composition
Since 1846, plaster copies were again placed on the eastern side of the Anichkov Bridge, and the artist began to create a further continuation and completion of the ensemble. The participants in the composition were the same: the horse and the driver, but they had different movements and composition, as well as a new plot. It took the artist four years to complete the sequel, and in 1850 the plaster sculptures finally disappeared from the Anichkov Bridge, and in their place the soldiers of the Sapper Battalion under the leadership of Baron Klodt put new bronze figures in place. The decoration of the Anichkov Bridge has been completed.
Plot
- In the first group the animal is obedient to man - a naked athlete, squeezing the bridle, restrains the rearing horse. Both the animal and the person are tense, the struggle is growing.
- This is shown by two main diagonals: the smooth silhouette of the horse's neck and back, which can be seen against the sky, forms the first diagonal that intersects with the diagonal formed by the figure of the athlete. The movements are highlighted with rhythmic repetitions.
- In the second group the head of the animal is turned up high, the mouth is bared, the nostrils are swollen, the horse beats with its front hooves in the air, the figure of the driver is deployed in the form of a spiral, he is trying to upset the horse.
- The main diagonals of the composition approach each other, the silhouettes of the horse and the driver seem to intertwine with each other.
- In the third group the horse overcomes the driver: the man is thrown to the ground, and the horse tries to break free, triumphantly arching its neck and throwing the blanket to the ground. Only the bridle in the driver's left hand prevents the freedom of the horse.
- The main diagonals of the composition are clearly expressed and their intersection is highlighted. The silhouettes of the horse and the driver form an open composition, in contrast to the first two sculptures.
- In the fourth group man tames an angry animal: leaning on one knee, he tames the wild run of a horse, squeezing the bridle with both hands.
- The silhouette of the horse forms a very flat diagonal, the silhouette of the driver is indistinguishable due to the drapery falling from the back of the horse. The silhouette of the monument again received seclusion and poise.
Prototypes
The figures of the Dioscuri in the Roman Forum on the Capitol Hill served as a direct prototype of Klodt's horses, but these antique sculptures had an unnatural motive of movement, and there was also a violation of proportions: compared to the enlarged figures of young men, the horses look too small.
Koni Marley
Another prototype was the "Horses of Marly" by the French sculptor Guillaume Couste (fr.), Created by him around 1740, and located in Paris at the entrance to the Champs Elysees from the Place de la Concorde. In the interpretation of the Kustu, the horses personify the animal principle, symbolize the swift, indomitable ferocity and are depicted as giants next to small drivers.
Klodt, in turn, depicted ordinary cavalry horses, the anatomy of which he studied for many years. The realism of proportions and plasticity was depicted by the sculptor in the traditions of classicism and this helped to inscribe the sculptural decoration of the bridge in the historical architectural landscape of this part of the city. One of the major differences of this composition from the works of its predecessors is the rejection of the idea of \u200b\u200bcomplete and unconditional symmetry and the creation of a sequential work, consisting of four compositions.
Outcome
The sculptor spent 20 years of his life on this work. This work has become one of the most significant and famous works of the sculptor. After discussing the first two sculptural compositions at the art council in 1833, the academic council decided to elect the sculptor to the appointed academicians, which was done five years later, in 1838. Also in the same year, he was appointed professor of sculpture and headed the Foundry of the Imperial Academy of Arts.
The work itself was recognized by contemporaries as one of the heights of the fine arts, comparable to the painting by KP Bryullov "The Last Day of Pompeii". In a short time, she gained European fame.
Finally, the statues took their places only 10 years after the installation of the first options. They left their pedestals twice:
- In 1941, during the blockade, the sculptures were removed and buried in the garden of the Anichkov Palace.
- In 2000, the sculptures were removed from the bridge for restoration.
Recognized master
After he was recognized as a master of his craft, Klodt performed other sculptural works, but, according to art critics, the horses on the Anichkov Bridge remained his best work.
Service house
In the 1845-1850s, Klodt took part in the reconstruction of the "Service House" of the Marble Palace: according to the project of A.P. Bryullov, the ground floor was intended for palace stables, and the building overlooking the garden was supposed to become an arena. In connection with this purpose, to decorate the building along the facade, above the windows of the second floor, along the entire length of the middle part of the building, a seven-meter relief "Horse in the service of man" was made. It was executed by Klodt according to the graphic sketch of the architect, it consisted of four blocks, not united by a common plot or idea:
- Fighting riders;
- Horse processions;
- Horseback riding and chariot rides;
- Hunting plots.
Art critics believe that this relief was made by Klodt in the image and likeness of horses on the frieze of the Parthenon. This opinion is supported by the Roman vestments of the people depicted on the reliefs.
Klodt was able to apply an innovative technique: he created a monument, unlike the plastic images of commanders, kings, nobles, who in his time adorned St. Petersburg and Moscow, abandoning the familiar language of allegories and creating a realistic portrait image. The sculptor depicted the fabulist sitting on a bench dressed in casual clothes in a natural relaxed posture, as if he had sat down to rest under the linden trees of the Summer Garden. All these elements focus on the poet's face, in which the sculptor tried to convey the characteristics of Krylov's personality. The sculptor managed to convey the portrait and general resemblance of the poet, which was recognized by his contemporaries.
The artist's idea went beyond a simple image of the poet, Klodt decided to create a sculptural composition, placing high-relief images of the characters of fables along the perimeter of the pedestal. The images are illustrative, and in 1849, to create the composition, Klodt hired the famous illustrator A.A.Agin to work. Klodt transferred the figures to the pedestal, carefully checking the images with living nature.
Work on the monument was completed in 1855.
Monument criticism
Klodt was criticized for petty pickiness in order to achieve maximum realism in the depiction of animals in high relief, pointing out to the author that the characters in the fables in the imagination of readers were more allegorical than they were real crayfish, dogs, foxes. In addition, the authors of the monument were criticized for the disproportion between the high relief of the pedestal, which is complex in composition, and the realistic artistic solution of the portrait statue.
Despite this criticism, the descendants highly appreciated the work of the sculptors, and the Krylov monument took its rightful place in the history of Russian sculpture.
Monument to Prince Vladimir of Kiev
The work ended with the presentation of the project in 1835 to the President of the Imperial Academy of Arts. For unclear reasons, work on the project was suspended for a decade. In 1846 Demut-Malinovsky died, after which the architect K.A.Ton took over the management of the work. At the end of the same year, information appears that "The project is accepted for execution"... Tone rearranged the project, taking as a basis the sketch of Demut-Malinovsky's model and designed the pedestal in the form of a high tower-like church in the pseudo-Byzantine style.
At that time Klodt was in charge of the foundry yard of the Academy of Arts, he was entrusted with casting the monument in bronze. Before casting, he had to reproduce a small figurine made at one time by Demut-Malinovsky on the gigantic scale of the monument. While doing this work, it is inevitable to make changes relative to the model. It is impossible to assess these differences, since it is not possible to compare the draft design with the monument: the draft model has not survived. Klodt did a great job on the face of the sculpture, giving it an expression of spirituality and inspiration.
The monument is a bronze statue 4.5 meters high, installed on a pedestal 16 meters high. The monument is laconic and austere, in style it belongs to typical examples of Russian classicism. Prince Vladimir is dressed in a long, flowing cloak, in his hand is a cross, which he extends over the city.
Klodt did his job very conscientiously, moved the statue from St. Petersburg to Kiev, and very well chose the place for it: the statue is inscribed in the high mountainous landscape of the Dnieper bank. The monument is clearly visible from the main city highway - Khreshchatyk.
Monument to Nicholas I
Several sculptors worked on the design of the monument: Klodt himself made the figure of the emperor. The pedestal was designed by sculptors:
- N. A. Ramazanov created three bas-reliefs.
- RK Zaleman in 1856-1858 completed four allegorical female figures: "Strength", "Wisdom", "Justice" and "Faith", and a bas-relief on the same pedestal depicting Count M. M. Speransky's presentation of the Code of Laws to the Emperor ...
The top of the composition is the equestrian figure of the emperor. The original sketch, created by Klodt, was of a rider on a calmly standing horse. The author, with the help of facial expressions and gestures, planned to reflect the character of the emperor, but this option was rejected by Montferrand due to the fact that it could not serve the original purpose of uniting spatial ensembles.
The sculptor created a new sketch. In it, abandoning the idea of \u200b\u200bcharacterizing the character, he depicted a horse in motion, leaning only on the hind pair of legs. In this impetuous pose of a horse, the ceremonial figure of the emperor stands in opposition to it. To implement this sketch, the sculptor took the trouble to accurately calculate the weight of the entire equestrian figure so that it stood, relying on only two points of support. This version was accepted by the architect and was embodied in bronze.
Usually, everyone who turned to the description of the statue of Nicholas I noted the technical skill of performing the most difficult task - setting the horse on two points of support. For their strength, Klodt ordered iron supports (weighing 60 poods, worth 2000 rubles in silver) from the best plant in Olonetska.
All the free time that remained from learning the military craft, he gave to his hobby:
It is also known that during this period Klodt devoted a lot of time to studying the postures, gaits and habits of horses. "Comprehending the horse as a subject of artistic creation, he had no other mentor than nature." .
After graduating from college, the future sculptor received the rank of second lieutenant. The officer served in the training artillery brigade until the age of 23, and after that in 1828 he left military service and decided to continue to engage exclusively in sculpture.
Sculptor
For two years Klodt studied independently, copied modern and antique works of art and worked from nature. Since 1830 he has been a volunteer at the Academy of Arts, his teachers were the rector of the Academy I. P. Martos, as well as the masters of sculpture S. I. Galberg and B. I. Orlovsky. They, approving the work and talent of the young sculptor, helped him achieve success. All this time, Peter Karlovich lived and worked in one of the basements. He even led horses there. There he painted them from a variety of angles. Klodt studied the horse from all sides and poses. Inside his office it was dirty, there were lumps of clay, drawings, sketches. The baron himself went to the rubbish. People wondered: "How can a baron live in such squalor?"
Klodt's talent and tenacity brought unexpected dividends: from the beginning of the 1830s, his statuettes depicting horses began to enjoy great success.
Horses of the Narva Gate
A strong continuation of his career was a large government order for the sculptural decoration of the Narva Gate, together with such experienced sculptors as S. S. Pimenov and V. I. Demut-Malinovsky. On the attic of the arch, there is a six horses carrying the chariot of the goddess of glory, made of forged copper according to Klodt's model in 1833. Unlike the classical depictions of this plot, the horses performed by Klodt rush forward and even rears up. Moreover, the entire sculptural composition gives the impression of a rapid movement.
After completing this work, the author received worldwide fame and patronage of Nicholas I. There is a legend that Nicholas I said: "Well, Klodt, you make horses better than a stallion."
Anichkov bridge
In late 1832 - early 1833, the sculptor received a new government order for the execution of two sculptural groups to decorate the palace pier on the Admiralty Embankment. In the summer of 1833, Klodt made models for the project, and in August of the same year the models were approved by the emperor and delivered for discussion to the Academy of Arts.
The members of the Academic Council expressed their complete satisfaction with the work of the sculptor and it was decided to complete both first groups in full. After this success in the work on this project, there was a break due to the fact that Klodt was completing work on the sculptural composition of the Narva Gate.
This break ended in the mid-1830s, and work on the project continued. Emperor Nicholas I, who oversaw the marina project, did not approve of the combination of lions and horses. Instead of the Dioscuri, vases were installed on the pier.
PK Klodt drew attention to the project of rebuilding the Anichkov Bridge and suggested placing the sculptures not on the piers of the Admiralteyskaya embankment or on the Admiralteisky Boulevard, but to transfer them to the supports of the Anichkov Bridge.
The proposal was approved and the new project included the installation of two pairs of sculptures on four pedestals on the west and east sides of the bridge.
By 1838, the first group had been realized in kind and ready to be translated into bronze.
Suddenly an insurmountable obstacle arose: the head of the Foundry Yard of the Imperial Academy of Arts, V.P. Ekimov, suddenly died without leaving a successor.
Without this person, the casting of sculptures was impossible, as a result of which the sculptor decided to independently direct the execution of the casting work.
Wilkinus Pferdebändiger in St. Petersburg.jpg
Fourth composition
Anichkov bridge horse tamer 2.jpg
Third composition
Second composition
Anichkov bridge horse tamer 4.jpg
First composition
Incarnation in bronze
To carry out the work, the skills of the foundations of foundry were useful to him, which he was taught at the artillery school, practically mastered in the service in the artillery and used in the lessons of V.P. Ekimov when Klodt was a volunteer at the academy.
Having become the head of the Foundry Dvor in 1838, he began to improve, bringing technological innovations and modern methods to the work of production.
The fact that the sculptor became a caster brought unexpected results: most of the cast statues did not require additional processing (chasing or corrections).
To achieve this result, meticulous work on the wax original was required with reproduction of the smallest possibilities and a complete casting of the composition (up to this point, such large sculptures were cast in parts). Between 1838 and 1841, the sculptor managed to make two compositions in bronze and began preparations for casting a second pair of sculptures.
On the side pedestals there were two pairs of sculptural compositions: bronze groups were on the right bank of the Fontanka River (from the Admiralty side), on the pedestals of the left bank painted plaster copies were installed.
In Berlin
Re-castings were made in 1842, but they did not reach the bridge, the emperor presented this pair to the Prussian king Frederick William IV and, at his direction, the sculptures went to Berlin to decorate the main gate of the royal palace.
In Naples
In 1843-1844 copies were made again.
From 1844 until the spring of 1846, they remained on the pedestals of the Anichkov Bridge, then Nicholas I sent them to the "king of the two Sicilies" Ferdinand II (to the Royal Palace in Naples).
Naples. The steed of Klodt. Left group.jpg
Left group
Right group
Also, copies of sculptures are installed in gardens and palace buildings in Russia: in the vicinity of St. Petersburg - at the Oryol Palace in Strelna and Peterhof, as well as on the territory of the Golitsyn estate in Kuzminki near Moscow, the Kuzminki-Vlakhernskoye estate.
Since 1846, plaster copies were again placed on the eastern side of the Anichkov Bridge, and the artist began to create a further continuation and completion of the ensemble.
The participants in the composition were the same: the horse and the driver, but they had different movements and composition, as well as a new plot.
It took the artist four years to make the copies, and in 1850 the plaster sculptures finally disappeared from the Anichkov Bridge, and in their place the soldiers of the Sapper Battalion, led by Baron Klodt, erected new bronze figures. The work on the decoration of the Anichkov Bridge was completed.
Plot
- In the first group the animal is obedient to man - a naked athlete, squeezing the bridle, restrains the rearing horse. Both the animal and the person are tense, the struggle is growing.
- This is shown by two main diagonals: the smooth silhouette of the horse's neck and back, which can be seen against the sky, forms the first diagonal that intersects with the diagonal formed by the figure of the athlete. The movements are highlighted with rhythmic repetitions.
- In the second group the head of the animal is turned up high, the mouth is bared, the nostrils are swollen, the horse beats with its front hooves in the air, the figure of the driver is deployed in the form of a spiral, he is trying to upset the horse.
- The main diagonals of the composition approach each other, the silhouettes of the horse and the driver seem to intertwine with each other.
- In the third group the horse overcomes the driver: the man is thrown to the ground, and the horse tries to break free, triumphantly arching its neck and throwing the blanket to the ground. Only the bridle in the driver's left hand prevents the freedom of the horse.
- The main diagonals of the composition are clearly expressed and their intersection is highlighted. The silhouettes of the horse and the driver form an open composition, in contrast to the first two sculptures.
- In the fourth group man tames an angry animal: leaning on one knee, he tames the wild run of a horse, squeezing the bridle with both hands.
- The silhouette of the horse forms a very flat diagonal, the silhouette of the driver is indistinguishable due to the drapery falling from the back of the horse. The silhouette of the monument again received seclusion and poise.
Prototypes
The figures of the Dioscuri in the Roman Forum on the Capitol Hill served as a direct prototype of Klodt's horses, but these antique sculptures had an unnatural motive of movement, and there was also a violation of proportions: compared to the enlarged figures of young men, the horses look too small. Another prototype was the "Horses of Marly" by the French sculptor Guillaume Couste, created by him around 1740, and located in Paris at the entrance to the Champs Elysees from the Place de la Concorde. In the interpretation of the Kustu, the horses personify the animal principle, symbolize the swift, indomitable ferocity and are depicted as giants next to small drivers.
Klodt, in turn, depicted ordinary cavalry horses, the anatomy of which he studied for many years.
Service house
In the 1845-1850s, Klodt took part in the reconstruction of the "Service House" of the Marble Palace: according to the project of A.P. Bryullov, the lower floor was intended for palace stables, and the building overlooking the garden was supposed to become an arena.
In connection with this purpose, to decorate the building along the facade, above the windows of the second floor, along the entire length of the middle part of the building, a seventy-meter relief "Horse in the service of man" was made.
It was executed by Klodt according to the graphic sketch of the architect, it consisted of four blocks, not united by a common plot or idea:
- Fighting riders;
- Horse processions;
- Horseback riding and chariot rides;
- Hunting plots.
Art critics believe that this relief was made by Klodt in the image and likeness of horses on the frieze of the Parthenon.
This opinion is supported by the Roman vestments of the people depicted on the reliefs.
Klodt was able to apply an innovative technique: he made a monument, unlike the plastic images of commanders, kings, nobles, who in his time adorned St. Petersburg and Moscow, abandoning the familiar language of allegories and creating a realistic portrait image.
The sculptor depicted the fabulist sitting on a bench, dressed in casual clothes in a natural relaxed position, as if he had sat down to rest under the linden trees of the Summer Garden.
All these elements focus on the poet's face, in which the sculptor tried to convey the characteristics of Krylov's personality. The sculptor managed to embody the portrait and general similarity of the poet, which was recognized by his contemporaries.
The artist's idea went beyond a simple image of the poet, Klodt decided to create a sculptural composition, placing high-relief images of the characters of fables along the perimeter of the pedestal.
The images are illustrative, and in 1849, to create the composition, Klodt hired the famous illustrator A.A.Agin to work.
Klodt transferred the figures to the pedestal, carefully checking the images with living nature.
Work on the monument was completed in 1855.
Monument criticism
Klodt was criticized for petty pickiness in order to achieve maximum realism in the depiction of animals in high relief, the author was pointed out that the characters in the fables in the imagination of the readers were more allegorical than they were real crayfish, dogs, foxes.
Despite this criticism, the descendants highly appreciated the work of the sculptors, and the Krylov monument took its rightful place in the history of Russian sculpture.
Monument to Prince Vladimir of Kiev
The work ended with the presentation of the project in 1835 to the President of the Imperial Academy of Arts.
For unclear reasons, work on the project was suspended for a decade.
In 1846 Demut-Malinovsky died, after which the architect K.A.Ton took over the management of the work.
At the end of the same year, information appears that "The project is accepted for execution"... Ton reconfigured the project, taking as a basis the sketch of Demut-Malinovsky's model and designed the pedestal in the form of a tall tower-like church in the pseudo-Byzantine style.
At that time Klodt was in charge of the foundry yard of the Academy of Arts, he was entrusted with casting the monument in bronze. Before casting, he had to reproduce a small figurine made at one time by Demut-Malinovsky on a gigantic scale of a monument.
While doing this work, it is inevitable to make changes relative to the model.
It is impossible to assess these differences, since the sketch model has not been preserved.
Klodt did a great job on the face of the sculpture, giving it an expression of spirituality and inspiration.
The monument is a bronze statue 4.5 meters high, installed on a pedestal 16 meters high. The monument is laconic and austere, belongs to the typical examples of Russian classicism. Prince Vladimir is dressed in a long, flowing cloak, in his hand is a cross, which he extends over the city.
Klodt did his job very conscientiously, transported the statue from St. Petersburg to Kiev and very well chose the place for it: the statue is inscribed in the high mountainous landscape of the Dnieper bank.
Several sculptors worked on the design of the monument: Klodt himself made the figure of the emperor. The pedestal was designed by sculptors:
- N. A. Romazanov created three bas-reliefs.
- RK Zaleman in 1856-1858 made four allegorical female figures: "Power", "Wisdom", "Justice" and "Faith", and a bas-relief on the same pedestal depicting Count M. M. Speransky's presentation of the Code of Laws to the Emperor ...
The top of the composition is the equestrian figure of the emperor. The original sketch, created by Klodt, was of a rider on a calmly standing horse. The author, with the help of facial expressions and gestures, planned to reflect the character of the emperor, but this option was rejected by Montferrand due to the fact that it could not serve the original purpose of uniting spatial ensembles.
The sculptor created a new sketch. In it, abandoning the idea of \u200b\u200bcharacterizing the character, he depicted a horse in motion, leaning only on the hind pair of legs. In this impetuous pose of a horse, the ceremonial figure of the emperor stands in opposition to it. To implement this sketch, the sculptor accurately calculated the weight of the entire equestrian figure in order for it to stand, relying only on two points of support. This version was accepted by the architect and was embodied in bronze.
The technical skill of performing the most difficult task - placing the horse on two pivot points. For their strength, Klodt ordered iron supports (weighing 60 poods, worth 2000 rubles in silver) from the best plant in Olonetska.
- Soviet historians and art critics did not highly appreciate the compositional and stylistic composition of the monument and noted that the elements did not look like a single composition:
- The pedestal, the reliefs on the pedestal and the equestrian statue are not subordinated to a single idea and to some extent contradict each other.
- The forms of the monument themselves are crushed and overloaded with small details, and the composition is pretentious and overly decorative.
- At the same time, the positive features of the composition stood out:
- It meets the intended purpose and, complementing the ensemble of the square, gives it completeness and integrity.
- All parts of the whole are professionally made by masters of their craft, the artistic value of the elements is undeniable.
- After the Revolution of 1917, the monument to Nicholas I on St. Isaac's Square was being prepared for demolition, like everything connected with tsarism, but thanks to its unique feature - a heavy equestrian statue rests only on its hind legs - it was recognized as a masterpiece of engineering thought and was not destroyed in Soviet times.
Cathedral of Christ the Savior in Moscow
Together with sculptors A. V. Loganovsky, N. A. Ramazanov and others, he worked on sculptures of the memorial temple in the "Russian-Byzantine" style - the Cathedral of Christ the Savior (built for almost 40 years), since September 10, 1839. It was he, and not N.A. Ramazanov, who performed the high relief of the Great Martyr George on the northern side of the temple, which is now in the Donskoy Monastery (see "Historical Description of the Temple in the Name of Christ the Savior in Moscow" M. 1883 M. Mostovsky - Head of the Chancellery construction of the temple).
Sculptor's life summary
In addition to the tangible legacy in the form of graphics and plastics, which the master left to descendants, he conquered several more peaks in his life:
Small sculptural forms
Throughout his career, Klodt has worked in the direction of small forms plastics. The statuettes of this author were highly valued by his contemporaries. Some of them are included in the collections of museums such as the State Russian Museum.
Death
The artist spent the last years of his life at his dacha Halola, where he died on November 8 (20).
In November 1867, snowstorms were blowing when he lived in a dacha in Halola, and his granddaughter asked her grandfather to carve her horse. Klodt took a playing card and scissors.
- Baby! When I was little like you, my poor father also made me happy by cutting horses out of paper ... His face suddenly twisted, his granddaughter cried out:
- Grandpa, don't make me laugh with your grimaces!
Klodt staggered and fell to the floor.
see also
- Mikhail Petrovich Klodt (1835-1914) - artist, son of P.K. Klodt
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Notes
- // Brockhaus and Efron Encyclopedic Dictionary: in 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.
- Samoilov A. Kony Klodt // Artist. 1961, No. 12. P.29-34.
- Petrov V.N. Petr Karlovich Klodt / Design by I.S.Serov. - L.: Artist of the RSFSR, 1973 .-- 60 p. - (Public art library). - 20,000 copies. (region)
- Petrov V.N. Petr Karlovich Klodt, 1805-1867. - L.: Artist of the RSFSR, 1985. - (Mass library for art). (region)
- Klodt G.A. “Pyotr Klodt sculpted and cast ...” / Georgy Klodt; Hood. A. A. Zubchenko. - M .: Soviet artist, 1989 .-- 240 p. - (Stories about artists). - 25,000 copies - ISBN 5-269-00030-X. (region)
- Klodt G.A. The Tale of My Ancestors / GA Klodt; Artist E. G. Klodt. - M .: Military Publishing, 1997 .-- 304, p. - (Rare book). - 10,000 copies. - ISBN 5-203-01796-6. (in the lane, superex.)
- Krivdina O.A. Sculptor Petr Karlovich Klodt. - SPb. : Madam, 2005 .-- 284 p. - ISBN 5-88718-042-0. (in the lane, superex.)
- samlib.ru/s/shurygin_a_i/klodt.shtml Taming the disobedient
Links
- // Magazine "Golden Mustang" №2 / 2002
- Romm A.P. K. Klodt.- M.-L .: Art, 1948.-50 p. -0.13 K.
An excerpt characterizing Klodt, Pyotr Karlovich
- Nothing, good people. How are you getting into the headquarters?- seconded, on duty.
They were silent.
“She let the falcon out of her right sleeve,” said the song, involuntarily arousing a cheerful, cheerful feeling. Their conversation would probably have been different if they had not spoken at the sound of a song.
- Is it true, the Austrians were beaten? Dolokhov asked.
- And the devil knows them, they say.
“I'm glad,” Dolokhov answered briefly and clearly, as the song demanded.
- Well, come to us when in the evening, you will lay the Pharaoh, - said Zherkov.
- Or have you got a lot of money?
- Come.
- You can't. Zarok gave it. I don’t drink or play until it’s done.
- Well, before the first case ...
- It will be seen there.
They were silent again.
- You come in, if you need anything, everyone in the headquarters will help ... - said Zherkov.
Dolokhov chuckled.
“You better not worry. I will not ask for what I need, I will take it myself.
- Well, I am so ...
- Well, I do.
- Goodbye.
- Be healthy…
... and high and far,
On the home side ...
Zherkov touched the horse with his spurs, which three times, hot, kicked him, not knowing which one to start with, coped and galloped, overtaking the company and catching up with the carriage, also in time to the song.
Returning from the inspection, Kutuzov, accompanied by the Austrian general, went into his office and, having called the adjutant, ordered to submit to himself some papers related to the state of the arriving troops, and letters received from Archduke Ferdinand, who commanded the advanced army. Prince Andrey Bolkonsky with the required papers entered the office of the commander-in-chief. In front of the plan spread out on the table sat Kutuzov and an Austrian member of the Hofkrigsrat.
“Ah…” said Kutuzov, looking back at Bolkonsky, as if by this word inviting the adjutant to wait, and continued the conversation that had begun in French.
“I’m only saying one thing, General,” Kutuzov said with a pleasant grace of expression and intonation that made him listen attentively to every leisurely spoken word. It was evident that Kutuzov himself was listening to himself with pleasure. - I only say one thing, General, that if the matter depended on my personal desire, then the will of His Majesty Emperor Franz would have long been fulfilled. I would have joined the Archduke long ago. And believe my honor, that for me personally to transfer the higher command of the army to a more knowledgeable and skillful general, which Austria is so abundant, and to give up all this heavy responsibility for me personally would be a delight. But circumstances are stronger than we are, General.
And Kutuzov smiled with such an expression as if he were saying: “You have every right not to believe me, and even I do not care whether you believe me or not, but you have no reason to tell me this. And that's the whole point. "
The Austrian general looked displeased, but he could not answer Kutuzov in the same tone.
“On the contrary,” he said in a grumpy and angry tone that contradicted the flattering meaning of the words spoken, “on the contrary, your Excellency's participation in a common cause is highly valued by His Majesty; but we believe that a real slowdown deprives the glorious Russian troops and their commanders-in-chief of those laurels that they are used to reaping in battles, - he finished the apparently prepared phrase.
Kutuzov bowed without changing his smile.
- And I am so convinced, and based on the last letter that His Highness Archduke Ferdinand honored me with, I suppose that the Austrian troops, under the command of such a skilled assistant as General Mac, have now won a decisive victory and no longer need our help, - said Kutuzov.
The general frowned. Although there was no positive news of the defeat of the Austrians, there were too many circumstances to confirm the general unfavorable rumors; and therefore the assumption of Kutuzov about the victory of the Austrians was very similar to a mockery. But Kutuzov smiled meekly, all with the same expression that said that he had the right to assume this. Indeed, the last letter he received from Mac's army informed him of the victory and the most advantageous strategic position of the army.
"Give me this letter here," said Kutuzov, addressing Prince Andrey. - If you please, see. - And Kutuzov, with a mocking smile at the ends of his lips, read in German to the Austrian general the following passage from the letter of Archduke Ferdinand: “Wir haben vollkommen zusammengehaltene Krafte, nahe an 70,000 Mann, um den Feind, wenn er den Lech passirte, angreifen und schlagen konnen. Wir konnen, da wir Meister von Ulm sind, den Vortheil, auch von beiden Uferien der Donau Meister zu bleiben, nicht verlieren; mithin auch jeden Augenblick, wenn der Feind den Lech nicht passirte, die Donau ubersetzen, uns auf seine Communikations Linie werfen, die Donau unterhalb repassiren und dem Feinde, wenn er sich gegen unsere treue Allirte mit ganzer Macht, wenden wollte Wir werden auf solche Weise den Zeitpunkt, wo die Kaiserlich Ruseische Armee ausgerustet sein wird, muthig entgegenharren, und sodann leicht gemeinschaftlich die Moglichkeit finden, dem Feinde das Schicksal zuzubereiten. So erdient [We have a fully concentrated force, about 70,000 people, so that we can attack and defeat the enemy in the event of a crossing over Leh. Since we already own Ulm, we can retain the advantage of commanding both banks of the Danube, therefore, every minute, if the enemy does not cross the Lech, cross the Danube, rush to his line of communication, below cross the Danube and the enemy, if he decides to turn all his power on our faithful allies, not to allow his intention to be fulfilled. Thus, we will cheerfully await the time when the imperial Russian army is completely ready, and then together we will easily find an opportunity to prepare the enemy for the fate he deserves. "]
Kutuzov sighed heavily, having finished this period, and carefully and affectionately looked at the member of the Hofkrigsrat.
“But you know, Your Excellency, a wise rule that presupposes the worst,” said the Austrian general, apparently wanting to end the jokes and get down to business.
He involuntarily glanced back at the adjutant.
“Excuse me, General,” Kutuzov interrupted him and also turned to Prince Andrey. - That's what, my dear, you take all the reports from our spies at Kozlovsky. Here are two letters from Count Nostitz, here is a letter from His Highness the Archduke Ferdinand, here's another, ”he said, handing him several papers. - And out of all this, neatly, in French, compose a memorandum, a note, for the appearance of all the news that we had about the actions of the Austrian army. Well, then, and introduce it to His Excellency.
Prince Andrey bowed his head as a sign that he understood from the first words not only what was said, but also what Kutuzov would like to tell him. He collected the papers, and, giving a general bow, quietly walking on the carpet, went out into the waiting room.
Despite the fact that not much time has passed since Prince Andrey left Russia, he has changed a lot during this time. In the expression on his face, in his movements, in his gait, there was almost no notice of the former pretense, fatigue and laziness; he looked like a man who has no time to think about the impression he makes on others, and is busy with a pleasant and interesting business. His face expressed more satisfaction with himself and those around him; his smile and look were more cheerful and attractive.
Kutuzov, whom he caught up with back in Poland, received him very affectionately, promised him not to forget him, distinguished him from other adjutants, took him with him to Vienna and gave more serious assignments. From Vienna, Kutuzov wrote to his old friend, the father of Prince Andrei:
“Your son,” he wrote, “gives me hope to be an officer who is one of the best in his occupations, firmness and diligence. I consider myself lucky to have such a subordinate at hand. "
At Kutuzov's headquarters, between his comrades and colleagues, and in the army in general, Prince Andrey, as well as in Petersburg society, had two completely opposite reputations.
Some, a smaller part, recognized Prince Andrew as something special from themselves and from all other people, expected great success from him, listened to him, admired him and imitated him; and with these people Prince Andrew was simple and pleasant. Others, the majority, did not like Prince Andrew, considered him a pouty, cold and unpleasant person. But with these people, Prince Andrew knew how to position himself in such a way that he was respected and even feared.
Leaving Kutuzov's office in the waiting room, Prince Andrey with papers went up to his comrade, the adjutant on duty Kozlovsky, who was sitting by the window with a book.
- Well, what, prince? Kozlovsky asked.
- Ordered to draw up a note why we are not going forward.
- And why?
Prince Andrew shrugged his shoulders.
- No word from Mac? Kozlovsky asked.
- Not.
- If it were true that he was broken, then the news would come.
“Probably,” said Prince Andrey and went to the exit door; but at the same time, a tall, apparently newcomer, Austrian general in a frock coat, with his head tied with a black shawl and with the Order of Maria Theresa around his neck, quickly entered the reception room, slamming the door towards him. Prince Andrew stopped.
- General in chief Kutuzov? - the visiting general quickly said with a sharp German reprimand, looking around on both sides and without stopping walking to the office door.
“General in chief is busy,” said Kozlovsky, hurrying up to the unknown general and blocking his way from the door. - How would you like to report?
The unknown general looked down contemptuously from top to bottom at the short Kozlovsky, as if surprised that they might not know him.
“General in chief is busy,” Kozlovsky repeated calmly.
The general's face frowned, his lips twitched and trembled. He took out a notebook, quickly drew something with a pencil, tore out a piece of paper, gave it away, walked quickly to the window, threw his body on a chair and looked around at those in the room, as if asking: why are they looking at him? Then the general raised his head, stretched out his neck, as if intending to say something, but immediately, as if casually beginning to hum to himself, made a strange sound, which immediately stopped. The office door opened, and Kutuzov appeared on the threshold. The general with his head tied, as if fleeing from danger, bending down, with large, quick steps of thin legs approached Kutuzov.
- Vous voyez le malheureux Mack, [You see poor Mack.] - he said in a broken voice.
The face of Kutuzov, who was standing at the door of the office, remained completely motionless for several moments. Then, like a wave, a wrinkle ran across his face, his forehead smoothed; he bowed his head respectfully, closed his eyes, silently let Mack pass by him, and shut the door behind him.
The rumor, already widespread before, about the defeat of the Austrians and about the surrender of the entire army at Ulm, turned out to be true. Half an hour later, adjutants were dispatched in different directions with orders proving that soon the Russian troops, still inactive, would have to meet the enemy.
Prince Andrew was one of those rare officers in the headquarters who considered his main interest in the general course of military affairs. Seeing Mack and hearing the details of his death, he realized that half of the campaign had been lost, understood the difficulty of the situation of the Russian troops and vividly imagined what awaited the army and the role that he would have to play in it.
Unwittingly, he felt an exciting joyful feeling at the thought of the shame of arrogant Austria and that in a week, perhaps, he would have to see and take part in the clash between the Russians and the French, for the first time since Suvorov.
But he was afraid of the genius of Bonaparte, who could prove to be stronger than all the courage of the Russian troops, and at the same time could not afford shame for his hero.
Excited and irritated by these thoughts, Prince Andrey went to his room to write to his father, to whom he wrote every day. He met in the corridor with his roommate Nesvitsky and the joker Zherkov; they, as always, were laughing at something.
- Why are you so gloomy? - asked Nesvitsky, noticing Prince Andrey's pale face with shining eyes.
- There is nothing to have fun, - answered Bolkonsky.
While Prince Andrei met with Nesvitsky and Zherkov, from the other side of the corridor, Strauch, an Austrian general who was at Kutuzov's headquarters to monitor the food of the Russian army, and a member of the gofkrigsrat, who had arrived the day before, were walking towards them. There was enough room along the wide corridor for the generals to disperse freely with the three officers; but Zherkov, pushing Nesvitsky away with his hand, said in a breathless voice:
- They are coming!… Coming!… Step aside, the road! please go!
The generals passed with the air of a desire to get rid of the burdensome honors. On the face of the joker Zherkov suddenly expressed a stupid smile of joy, which he seemed unable to keep.
“Your Excellency,” he said in German, moving forward and addressing the Austrian general. - I have the honor to congratulate you.
He bowed his head and, awkwardly, like children learning to dance, began to bow with one or the other leg.
The general, a member of the Hofkriegsrat, looked sternly at him; not noticing the seriousness of a stupid smile, he could not refuse a moment's attention. He narrowed his eyes to show that he was listening.
“I have the honor to congratulate you, General Mack has arrived, completely healthy, only a little hurt here,” he added, beaming with a smile and pointing to his head.
The general frowned, turned away and walked on.
- Gott, wie naiv! [My God, how simple he is!] - he said angrily, taking a few steps away.
Nesvitsky hugged Prince Andrei with a laugh, but Bolkonsky, even paler, with an evil expression on his face, pushed him away and turned to Zherkov. The nervous irritation into which he was led by the sight of Mack, the news of his defeat and the thought of what awaited the Russian army, found an outcome in anger at Zherkov's inappropriate joke.
“If you, my dear sir,” he spoke shrilly with a slight trembling of the lower jaw, “want to be a jester, then I cannot prevent you from doing so; but I declare to you that if you dare to play a trick another time in my presence, then I will teach you how to behave.
Nesvitsky and Zherkov were so surprised by this trick that they silently, opening their eyes, looked at Bolkonsky.
- Well, I only congratulated, - said Zherkov.
- I'm not joking with you, if you please be silent! - shouted Bolkonsky and, taking Nesvitsky by the hand, walked away from Zherkov, who could not find what to answer.
- Well, what are you, brother, - Nesvitsky said soothingly.
- Like what? - Prince Andrey spoke, stopping from excitement. “You must understand that we, or the officers who serve their tsar and fatherland and rejoice at the common success and grieve over the common failure, or we are lackeys who do not care about the master's business. Quarante milles hommes massacres et l "ario mee de nos allies detruite, et vous trouvez la le mot pour rire," he said, as if using this French phrase to consolidate his opinion. "C" est bien pour un garcon de rien, comme cet individu , dont vous avez fait un ami, mais pas pour vous, pas pour vous. [Forty thousand people died and our allied army was destroyed, but you can joke at the same time. This is forgivable for an insignificant boy, like this gentleman, whom you made a friend to yourself, but not to you, not to you.] Boys can only be so amused, - said Prince Andrey in Russian, pronouncing this word with a French accent, noting that Zherkov could still hear it.
He waited for the cornet to answer. But the cornet turned and left the corridor.
The Hussar Pavlograd regiment was stationed two miles from Braunau. The squadron, in which Nikolai Rostov served as a junker, was located in the German village of Salzenek. The squadron commander, captain Denisov, known to the entire cavalry division under the name of Vaska Denisov, was given the best apartment in the village. Junker Rostov, ever since he caught up with the regiment in Poland, lived with the squadron commander.
On October 11, the very day when everything in the main apartment was raised to its feet by the news of Mack's defeat, in the headquarters of the squadron, marching life calmly went on as before. Denisov, who had lost all night at cards, had not yet come home when Rostov, early in the morning, on horseback, returned from foraging. Rostov in a cadet's uniform rode up to the porch, pushing the horse, with a flexible, youthful gesture threw off his leg, stood on the stirrup, as if not wishing to part with the horse, finally jumped down and shouted the messenger.
“Ah, Bondarenko, dear friend,” he said to the hussar, who had rushed headlong towards his horse. “Take it out, my friend,” he said with that fraternal, cheerful tenderness with which good young people treat everyone when they are happy.
- Yes, your Excellency, - answered the Little Russian, shaking his head cheerfully.
- Look, take it out well!
Another hussar also rushed to the horse, but Bondarenko had already thrown over the reins of the bit. It was evident that the cadet gave well for vodka, and that it was profitable to serve him. Rostov stroked the horse's neck, then the rump, and stopped on the porch.
“Nice! Such a horse will be! " he said to himself, and smiling and holding his saber, he ran up the porch, rattling his spurs. The owner, a German, in a sweatshirt and a cap, with a pitchfork, with which he cleared manure, looked out of the barn. The German's face suddenly brightened as soon as he saw Rostov. He smiled cheerfully and winked: “Schon, gut Morgen! Schon, gut Morgen! " [Great, good morning!] He repeated, apparently taking pleasure in greeting the young man.
- Schon fleissig! [Already at work!] - Rostov said all with the same joyful, fraternal smile that never left his lively face. - Hoch Oestreicher! Hoch Russen! Kaiser Alexander hoch! [Hurray Austrians! Hurray Russians! Emperor Alexander hurray!] - he turned to the German, repeating the words often spoken by the German owner.
The German laughed, left the barn door completely, pulled
cap and, waving it over his head, shouted:
- Und die ganze Welt hoch! [And the whole world hurray!]
Rostov himself, like the German, waved his cap over his head and, laughing, shouted: "Und Vivat die ganze Welt"! Although there was no reason for particular joy neither for the German, who was cleaning his barn, nor for Rostov, who drove with a platoon for hay, these two people looked at each other with happy delight and brotherly love, shook their heads as a sign of mutual love and parted with a smile - the German in the cowshed, and Rostov in the hut, which he occupied with Denisov.
- What is the master? - he asked Lavrushka, the rogue lackey Denisov known to the whole regiment.
- We haven't been in the evening. True, we lost, - answered Lavrushka. “I know, if they win, they’ll come early to brag, and if they don’t until morning, then they’re blown away, the angry ones will come.” Would you like some coffee?
- Come on, come on.
After 10 minutes Lavrushka brought coffee. Come on! - he said, - now the trouble. - Rostov looked out the window and saw Denisov returning home. Denisov was a small man with a red face, shining black eyes, a black tousled mustache and hair. He was wearing an unbuttoned mentik, wide chikchirs lowered in folds, and a crumpled hussar cap was worn on the back of his head. He grimly, head down, approached the porch.
- Loveg "ear," he shouted loudly and angrily. - Well, take off, you fool!
“Yes, I’m taking pictures anyway,” answered Lavrushka’s voice.
- AND! you've already got up, - said Denisov, entering the room.
“A long time ago,” said Rostov, “I've already gone for hay and saw Fraulein Matilda.
- Here's how! And I am "odulsya, bg" at, vcheg "and, like a son of a bitch!” Denisov shouted, without pronouncing R. “Such a misfortune! Such a misfortune!
Denisov, grimacing, as if smiling and showing his short strong teeth, began to shag his thick black hair with both hands with short fingers, like a dog.
- Chog "t me money" zero go to this kg "yse (nickname of the officer), - rubbing his forehead and face with both hands, he said. - You can yourself pg" put, not one kag "you, not one, not one kag "you didn't give.
Denisov took the smoked pipe served to him, clenched it into a fist, and, scattering fire, hit the floor with it, continuing to shout.
- Sempel will give, pag "ol beats; sempel will give, pag" ol beats.
He scattered fire, broke the pipe and dropped it. Denisov was silent and suddenly, with his shining black eyes, glanced merrily at Rostov.
- If only there were women. And then here, kg "Oh, how to drink, there is nothing to do. If only she could" get off ".
- Hey, who's there? - he turned to the door, hearing the stopped footsteps of thick boots with the clatter of spurs and a respectful cough.
- Wahmister! - said Lavrushka.
Denisov grimaced even more.
- Squeg "but," he said, throwing his purse with several gold pieces. - G'ostov, count, my dear, how many are left there, but put the purse under your pillow, - he said and went out to the sergeant.
Rostov took the money and, mechanically, putting aside and leveling the old and new gold in piles, began to count it.
- AND! Telyanin! Zdog "ovo! They blew me up yesterday" ah! - I heard the voice of Denisov from another room.
- Who? At Bykov's, at the rat's? ... I knew, ”said another thin voice, and then Lieutenant Telyanin, a small officer of the same squadron, entered the room.
Rostov threw his purse under his pillow and shook the small, damp hand extended to him. Telyanin was transferred from the guard for some reason before the campaign. He behaved very well in the regiment; but he was not loved, and especially Rostov could neither overcome nor hide his unreasonable disgust for this officer.
- Well, young cavalryman, how does my Grachik serve you? - he asked. (Hrachik was a riding horse, a porch, sold by Telyanin to Rostov.)
The lieutenant never looked into the eyes of the person with whom he spoke; his eyes were constantly running from one object to another.
- I saw you drove by today ...
“Nothing, good horse,” Rostov answered, despite the fact that this horse, which he bought for 700 rubles, was not worth half that price. - She began to fall on the left front ... - he added. - Cracked hoof! It's nothing. I'll teach you, show you which rivet to put.
- Yes, show me please, - said Rostov.
- Show, show, it's not a secret. And you will thank for the horse.
“So I will tell you to bring the horse,” said Rostov, wanting to get rid of Telyanin, and went out to tell him to bring the horse.
In the vestibule Denisov, with his pipe, huddled on the threshold, sat in front of the sergeant, who was reporting something. Seeing Rostov, Denisov grimaced and, pointing over his shoulder with his thumb to the room in which Telyanin was sitting, winced and shook with disgust.
“Oh, I don’t like a fellow,” he said, not embarrassed by the presence of the sergeant.
Rostov shrugged his shoulders, as if to say: "Me too, but what to do!" and having given orders, he returned to Telyanin.
Telyanin still sat in the same lazy posture in which Rostov had left him, rubbing his small white hands.
"There are such disgusting faces," thought Rostov, entering the room.
- Well, ordered to bring the horse? Said Telyanin, getting up and casually looking around.
- I ordered.
- Yes, let's go ourselves. I only came in to ask Denisov about yesterday's order. Got it, Denisov?
- Not yet. Where are you going?
“I want to teach a young man how to forge a horse,” said Telyanin.
They went out onto the porch and into the stable. The lieutenant showed how to make a rivet and went to his room.
When Rostov returned, there was a bottle of vodka and a sausage on the table. Denisov was sitting in front of the table and cracking his pen on paper. He looked gloomily into Rostov's face.
“I’m writing to her,” he said.
He leaned on the table with a feather in his hand, and, obviously delighted with the opportunity to quickly say everything he wanted to write in a word, expressed his letter to Rostov.
- You see, dg "yog," he said. "We sleep until we love. We are children of pg`axa ... and fell in love - and you are God, you are pure as on the day of creation ... Who is this?" Drive him to the chog "that. No time!" He shouted at Lavrushka, who, not at all shy, approached him.
- Who can be? They ordered it themselves. The sergeant came for the money.
Denisov frowned, wanted to shout something and fell silent.
“Squag, but business,” he said to himself. “How much money is left in the wallet?” He asked Rostov.
- Seven new and three old.
- Ah, squag "but! Well, what are you standing there, stuffed animals, let's go to the Wahmist," Denisov shouted at Lavrushka.
“Please, Denisov, take the money from me, because I have it,” said Rostov, blushing.
“I don’t like to borrow from my own people, I don’t like it,” Denisov grumbled.
“And if you don’t take money from me in a comradely manner, you’ll offend me. Really, I have, ”Rostov repeated.
- No.
And Denisov went to the bed to get a wallet from under the pillow.
- Where did you put it, Rostov?
- Under the bottom pillow.
- No, no.
Denisov threw both pillows on the floor. There was no wallet.
- What a miracle!
- Wait, did you drop it? Said Rostov, lifting the pillows one by one and shaking them out.
He kicked off and brushed off the blanket. There was no wallet.
- Have I forgotten? No, I also thought that you were definitely putting a treasure under your head, ”said Rostov. - I put my wallet here. Where is he? - he turned to Lavrushka.
- I didn’t come in. Where they put it, there it should be.
- Well no…
- You are so, throw it where, and you will forget. Look in your pockets.
“No, if I hadn’t thought about the treasure,” said Rostov, “otherwise I remember what I put.
Lavrushka ransacked the entire bed, looked under it, under the table, ransacked the whole room and stopped in the middle of the room. Denisov silently watched Lavrushka's movements, and when Lavrushka threw up his hands in surprise, saying that he was nowhere, he looked back at Rostov.
- G "skeleton, you are not a schoolboy ...
Rostov felt Denisov's gaze on him, raised his eyes, and at the same instant lowered them. All his blood, which was trapped somewhere below his throat, gushed into his face and eyes. He couldn't catch his breath.
- And there was no one in the room, except for the lieutenant and yourself. It's somewhere here, ”said Lavrushka.
- Well, you, chog "tova doll, walk around, look for," Denisov suddenly shouted, turning purple and rushing at the footman with a threatening gesture. All zapog "yu!
Rostov, looking around Denisov, began to button up his jacket, whipped up his saber and put on his cap.
“I told you to have a wallet,” shouted Denisov, shaking the orderly's shoulders and pushing him against the wall.
- Denisov, leave him; I know who took it, ”said Rostov, going up to the door and not looking up.
Denisov stopped, thought, and, apparently understanding what Rostov was hinting at, grabbed his hand.
“Leap!” He shouted so that the veins, like ropes, swelled around his neck and forehead. “I tell you, you're crazy, I won't allow it. The wallet is here; I will skim this mega-owner, and will be here.
“I know who took it,” Rostov repeated in a trembling voice and went to the door.
- And I told you, don't you dare to do this, - Denisov shouted, rushing to the cadet to restrain him.
But Rostov pulled out his hand and, with such malice, as if Denisov were his greatest enemy, fixed his eyes directly and firmly on him.
- Do you understand what you are saying? - he said in a trembling voice, - except me there was nobody in the room. Therefore, if not that, so ...
He could not finish and ran out of the room.
- Oh, chog "t with you and with everyone," were the last words that Rostov heard.
Rostov came to Telyanin's apartment.
“The master is not at home, we have left for the headquarters,” Telyanin's orderly told him. - Or what happened? Added the orderly, surprised at the cadet's upset face.
- There is nothing.
“We missed a bit,” said the orderly.
The headquarters was located three versts from Salzenek. Rostov, without going home, took the horse and went to the headquarters. In the village occupied by the headquarters, there was a tavern visited by officers. Rostov arrived at the tavern; at the porch he saw Telyanin's horse.
In the second room of the inn the lieutenant was sitting at a platter of sausages and a bottle of wine.
“Oh, and you stopped by, young man,” he said, smiling and raising his eyebrows high.
“Yes,” said Rostov, as if it took a lot of effort to pronounce the word, and sat down at the next table.
Both were silent; in the room were two Germans and one Russian officer. Everyone was silent, and the sounds of knives on plates and the sound of the lieutenant's champing were heard. When Telyanin finished breakfast, he took out of his pocket a double purse, parted the rings with small white fingers curved upward, took out a gold one and, raising his eyebrows, gave the money to the servant.
“Please hurry,” he said.
The gold one was new. Rostov got up and went up to Telyanin.
“Let me see the wallet,” he said in a low, barely audible voice.
With shifting eyes, but still raised eyebrows, Telyanin handed over the purse.
- Yes, a pretty wallet ... Yes ... yes ... - he said and suddenly turned pale. “Look, young man,” he added.
Rostov took the purse in his hands and looked at it, and at the money that was in it, and at Telyanin. The lieutenant looked around, according to his habit, and it seemed that he suddenly became very cheerful.
“If we’re in Vienna, I’ll leave everything there, and now there’s nowhere to go in these crappy little towns,” he said. - Well, come on, young man, I'll go.
Rostov was silent.
- What about you? have breakfast too? They are decently fed, - continued Telyanin. - Let's go.
He reached out and took hold of the wallet. Rostov released him. Telyanin took the wallet and began to lower it into the pocket of his leggings, and his eyebrows were carelessly raised, and his mouth opened slightly, as if he were saying: "Yes, yes, I put my wallet in my pocket, and it's very simple, and nobody cares about this." ...
- Well, what, young man? He said, sighing and looking into Rostov's eyes from under raised eyebrows. Some kind of eye light with the speed of an electric spark ran from Telyanin's eyes to Rostov's eyes and back, back and forth, all in an instant.
“Come here,” Rostov said, grabbing Telyanin by the hand. He almost dragged him to the window. “This is Denisov’s money, you took it…” he whispered over his ear.
The ingenious sculptor Klodt Petr Karlovich from childhood was going to become a military man. And he chose creativity. And he began to study without mentors. And also, by the will of circumstances, he became a first-class foundry. It was he who gave impetus to the development of this art.
He also made Russian animal painting a self-sufficient discipline ...
Family of hereditary military men
Peter Karlovich Klodt, whose biography will be told to the reader in an article, was born in St. Petersburg in 1805. The Klodt family consisted mainly of hereditary military men. This surname was rather poor, but well-born. So, the great-great-grandfather of the sculptor took part in the Northern War and was considered one of the famous figures of those battles. Pope Peter was also a military man. He fought against the hordes of Bonaparte during the Patriotic War of 1812 and was a military general. His portrait is still in the Hermitage gallery.
When Peter was born, his father received a new position and headed the headquarters of the Separate Siberian Corps. Therefore, the childhood and youth of the future sculpture took place in Omsk.
It was in this Siberian city that he developed a craving for drawing, modeling and carving. When he was twelve, he already carved horses from wood. In these animals, he saw an incomparable charm.
By and large, this hobby passed to young Peter from his father. He sent him paper horses from the army, which were cut out of playing cards. After that, at the slightest opportunity, the future sculptor always tried to draw and carve these animals.
In 1822, the head of the family died, and his relatives immediately decided to return to the Northern capital.
Military service
Since the ancestors of the young Klodt were military men, seventeen-year-old Peter decided to enter an artillery school. To be honest, there is very little about this period of life. He was seventeen when he became a cadet. Then, a few years later, he was promoted to ensign.
At the same time, when he had free time, he studied horses - he observed their behavior, habits, postures ... In a word, he comprehended these animals as subjects of artistic creativity. He had no mentor other than nature. He also continued to pursue his favorite hobby - drawing or carving figures.
In 1827, Klodt, already a second lieutenant, left the service due to illness. From that moment on, he focused only on his work.
Auditor of the Academy
For two years, the former officer was engaged in sculpture on his own. He, as before, worked from nature, copied antique and modern works of art. Once one of the crowned persons presented the great emperor Nicholas I with a figure of a horseman made of wood. Since the autocrat was very fond of such "toys", he ordered to find a gifted author. As a result, Peter Klodt ended up in the Winter Palace and, after an audience with the emperor, became a volunteer at the Academy of Arts. He also began to receive cash benefits. It was 1829.
From that time on, the sculptor completely devoted himself to art. He began to listen to lectures, met new creative people, copied sculptures in palaces and museums, and continued to carve figurines of horses with hussars. By the way, in the 30s these "toys" were literally snapped up. It is known that a similar wooden statuette of Klodt once decorated the Empress's desk. In short, the talent and persistence of the sculptor inevitably brought real results. And even earlier than the young creator himself expected.
As for the teachers of the Academy, they approved of his work, in every possible way helping him to achieve success. But the direct mentor of the young listener was the rector of the institution I. Martos. It was he who introduced him to his house ...
Marriage to the rector's niece
In fact, Pyotr Klodt, whose biography is full of interesting events, became a frequent guest in the house of Martos. After a while, he even wanted to marry the rector's daughter. But that didn't happen. But he began to be nice to his niece. Juliania Spiridonova - that was her name. Subsequently, she became a faithful loving wife and mistress of the house. Their wedding took place in 1832.
Three years later, the Klodt family had an heir - Mikhail. Over the decades, he became a very famous artist and occasionally worked abroad.
First government order
After the wedding, Pyotr Klodt (sculptor) received the first government order. We are talking about the sculptural decoration in the Northern capital. He was accompanied by experienced creative personalities such as V. Demut-Malinovsky and S. Pimenov. Despite the fact that the young sculptor had absolutely no experience in monumental works, he managed to emerge brilliantly as a winner. When his six horses were already installed on the attic of the arch, which carry the chariot of the goddess of glory, Klodt (the sculptor, the creator of this masterpiece) received not only the patronage of the Russian autocrat, but also worldwide fame.
In addition, after such a triumph, the 28-year-old self-taught creator became an academician of the Academy of Arts. He also became a professor of sculpture, and, in addition to his salary, he began to receive a substantial annual pension. They also gave him a spacious apartment and a workshop ...
From Admiralteysky Boulevard to Anichkov Bridge
When Klodt was working on the design of the Narva Gate, he received another order from the government. He has to create two sculptural groups. According to the plan, they would decorate the pier of the Admiralty Boulevard. Its name is "Taming the Horse".
Petr Klodt was able to make models for this project and brought them to the Academy for discussion. The academicians were more than satisfied with the work of the talented sculptor, and it was decided to complete this order in full.
But since Klodt continued to work on the composition of the Narva Gate, he had to take a pause in the work on the "tamers". After a while, when the first project was completed, the sculptor returned to the previous composition.
However, now he offered to put the sculptures not on the Admiralteisky Boulevard, but on the Anichkov Bridge.
The fact is that this structure was originally a wooden ferry, then a stone one. The bridge was reliable, but very narrow for a large capital. Nicholas I himself understood that reconstruction was required. And in this case, Klodt's "Horse Tamers" would be here to the place. In short, such work would give the bridge a very modern look. As a result, the reconstruction of the structure started in 1840.
But even before that, the first group of "tamers" was already ready, and the foundry workers were waiting for the team to cast the piece of art in bronze. But the head of the foundry of the Academy V. Yekimov died suddenly, without leaving, unfortunately, his successor ...
Caster
Casting was impossible without such a professional specialist. But in order to realize all the same, Klodt decided to supervise the implementation of these works himself. Moreover, he was trained in casting skills when he studied at a military school and at the Academy.
At that time, he was considered the only sculptor who perfectly mastered artistic casting. Therefore, he received an offer to manage the entire foundry yard. He certainly didn’t refuse. So for the first time in the history of art, a sculptor who did not have the appropriate education began to head such a workshop.
By 1841, Klodt had already made two bronze compositions and began to prepare for the casting of the last pair of sculptures.
Well, at the end of November of the same year, Anichkov Bridge was opened after restoration. The finished bronze groups were on the pedestals of the right bank of the Fontanka, and on the left were plaster copies ...
Gift story
In 1842, the last pair were cast. However, they did not get to the Anichkov Bridge. The fact is that Nicholas I summoned the sculptor. He said that he wants to glorify the creations of Klodt. And for this he decided to give the already cast to the King of Prussia Frederick William IV.
As a result, Klodt went to Berlin. A bronze gift was presented to the Prussian monarch. After that, the sculptures were installed near the main gate of the imperial palace. Wilhelm, however, did not remain in debt. He presented a diamond snuffbox to Klodt and presented him with the prestigious Order of the Red Eagle.
Upon returning to St. Petersburg, he once again began to cast "tamers". But this time, too, this couple did not reach their destination, since at that time the ruler of both Sicilies Ferdinand II was on a visit in Northern Palmyra. The Russian autocrat demonstrated the creations of Klodt to the Sicilian monarch. As a result, Ferdinand liked how Peter Klodt sculpted them, and he asked to present a couple to him. And so it happened. The bronze pair of the sculptor is in Naples, and the ingenious creator was awarded another order.
To be honest, the same copies are in Russia. For example, in the Golitsyn estate and in Petrodvorets.
The pinnacle of creativity
Thus, from 1846, the artist once again cast the sculpture and completed the entire composition. This process, in fact, lasted four years. And in 1850, plaster copies were removed from the bridge, and bronze figures were installed in their place. Thus, Klodt (sculptor) Anichkov Bridge finally completed the design. The work lasted for two decades. And the whole ensemble brought the master unprecedented success.
Of course, after the "tamers" Klodt created other sculptural works. However, according to connoisseurs of art, "Anichkov Horses" are the pinnacle of the artist's work.
70-meter relief
P. Klodt (sculptor) continued to work on the most important imperial orders. One of them is the restructuring of the service building of the Marble Palace. So, according to the project, it was assumed that the entire lower floor would be given to the stables, and the building, which opens onto the garden, would become a riding hall. Accordingly, a 70-meter relief was created for decoration, which was called "A horse in the service of man." The author was Klodt. In this work, the sculptor depicted scenes of horse domestication, road and hunting pictures, cavalry battles ...
The most heartfelt work
Of the other sculptures of the master, a monument to Ivan Krylov stands alone. Recall that the famous fabulist died in 1844. His death was perceived as a nationwide grief. The next year, through periodicals, a voluntary subscription was announced related to the installation of a monument to Krylov. Three years later, the required amount was collected, and the Academy of Arts announced a corresponding competition among sculptors. As a result, Klodt became the winner.
Initially, he planned to fulfill the order in the ancient tradition. But in the end he created a truly accurate portrait image.
By and large, the artist's entire creative life was spent under the autocrat, under his direct patronage. So who could have left the memory of him in bronze? Only Klodt.
As a result, the famous creator of the Alexandrian Column, Montferrand, was responsible for the construction. But only Klodt could mold the statue and cast it.
At the very beginning of 1857, the monument was laid, the next year the master had already begun to cast a bronze equestrian statue of the king. Unfortunately, a crack appeared during the casting process, and as a result, a number of parts of the figure were not filled.
Secondary casting took place in 1859. This time everything went more than successfully.
However, in order to deliver the statue from the workshop to the installation site, one of the walls had to be broken. There were no more problems.
Well, in June of the same year, the monument to the emperor was solemnly opened. This work has become not only a true decoration of Isaac's Square, but also a masterpiece of world art.
Anatomy
In addition to his direct activities, Klodt Petr Karlovich, whose sculptures are known throughout the world, developed teaching aids for the young talents of the Academy. So, back in the thirties, he cast the famous "Lying Body" from bronze. In other words, this is human anatomy, which was created with the participation of one of the teachers of anatomy. A little later, the master also created "Anatomy of a Horse".
Master's sudden death
The genius sculptor died in the fall of 1867. Sudden death overtook him at his own dacha in Finland. They say that in the last minutes of his life the sculptor Klodt (his works are recognized as masterpieces), as always, carved figurines.
Klodt was buried at the Lutheran churchyard in the Northern capital. And in 1936 the masters transferred the ashes to the Necropolis of Artists. At the same time, a new headstone was installed.
Almost all of the sculptor's relatives, including his wife, remained at the Lutheran cemetery. Unfortunately, all the graves of the Klodts were irreparably destroyed ...
I am looking at a 160-year-old drawing, where a certain artist reflected the 30-year-old sculptor Pyotr Karlovich Klodt: what a resemblance to his great-great-great-grandson Eugene, an artist-designer and my friend!
Evgeny Klodt: Our family is known almost from the X-XII centuries. My father looked for the roots of the Klodts all over Europe, for they left their mark everywhere. He found his ancestors in the genealogies of the ancient Lombard Caesars, veterans of Julius Caesar, in Westphalia, Saxony and Prussia, in the principalities of Ailen, Warburg, Braunschweig, in Livonia and Courland ...
But the fate of this lively and fruitful family suddenly took an amazing turn: from the 18th century the Klodts were resolutely "registered" in Russia. And then, in the full sense of the word, they shone.
The first Russian Klodt was named from birth Karl Gustav. At the courts and armies of their Imperial Majesties Catherine II, Paul I and Alexander I he was christened Karl Fedorovich. For impeccable service they were awarded the Orders of St. Vladimir and St. Anna. Golden sword - "For courage". With this sword Colonel Karl Klodt marched against the French in the Battle of Borodino. He finished his service as a baron and general, leaving Russia with five sons.
One of them was named Pyotr Klodt. His bronze horses have been decorating Anichkov Bridge for a century and a half. On his four winged horses, the god Apollo rides along the pediment of the Bolshoi Theater. From the walls of the Grand Kremlin Palace, George the Victorious rushes towards the insidious Serpent ...
Traitor to the clan
His "horse" fate was, as it were, predetermined: as a child, father Karl sent his son Petka from the army of paper horses cut out of playing cards; in his youth, as a cadet-artilleryman, he admired the dressage of the capital's hussars. But he did not go to the hussars. He liked not to prancing, but to watch the horses - to become them, natural grace, innate nobility. In the artillery class, instead of ballistic trajectories, he drew horses. And once he saw how Peter cut out a horse from a birch log, his elder brother Vladimir exclaimed: "Petka, you are a traitor of our kind! Horseman! Coachman!"
But the "horseman" continued to make horses. Once on Peter's day, colleagues came to Warrant Officer Pyotr Klodt. An unfamiliar staff captain is with them. He looked at the wooden horses with interest. And suddenly he said: "Sell your horse, Baron!" - "Not for sale", - answered Peter. "From what?" - "The officer's honor does not order. But I can give it."
At the Palace Square, the architect Rossi erected the General Staff building - in memory of the war with Napoleon. And when the Chariot of Victory rose above the arch, sparkling, something exploded in the chest of Second Lieutenant Klodt. Six bronze horses flew towards him from the skies. The next day he resigned ...
And then miracles began. Someone from the royal retinue presented a wooden horseman to Emperor Nicholas I. The tsar, who adored such toys and, as you know, loved to play "in the cavalry", said: "It's lovely. Who is this gifted carver?" - "Baron Klodt, Your Majesty. Retired lieutenant". - "Let a detachment of horse guards cut out for me." And, having received them, he ordered: "Now show me this baron!"
Lady Luck
No joke: a retired lieutenant, a toy-maker, a poor man (even if the baron) has been invited to an audience with the emperor himself! As in a fairy tale, the Tsarev's test successfully passes: the self-taught, surprisingly to everyone, brilliantly copies German prints. Then he was highly recommended to the Academy of Arts, taken under its patronage. His life was put on a creative track overnight: lectures at the Academy, copying antique marbles in museums and palaces, making new acquaintances ... But the sculpture is still "around the corner", and Pyotr Klodt still cuts his toys - horses and hussars that go snapped up.
Meanwhile, he is twenty-five - the age when true masters, as a rule, already create masterpieces. From Peter's toys to real sculpture, it seems, oh, how far is it! However, Lady Luck does not sleep. The mysterious fate of Klodt prepares for his astounding takeoff. New (stone, instead of wooden) Narva Triumphal Gates have already been erected, over which the Chariot of Glory is about to rise.
The chariot was fashioned by Demut, the figures of horses by Pimenov. But the tsar suddenly declares that "Pimenov's horses are too thin." And he orders to call the equally famous sculptors Galberg and Orlovsky. However, both (out of professional solidarity or fear of displeasing the emperor) find a pretext for refusal. And then ... Then suddenly they remember the "toy" Klodt! Stunned, frightened, Peter hesitates. But they say to him: "You cannot refuse, Baron. For some people, perhaps it will do. But you will not be forgiven, for you are nobody."
And the incredible happens. The master, who had never worked in clay and plaster, in ancient classics and imperial forms, sculpted the first giant horse so that the commission was unanimous: "This model has been made with the desired success." All six horses were sculpted and cast in just a year. And the Chariot of Glory rushed off. The result was an even more impossible event: the self-taught sculptor was at once awarded the title of academician.
Evgeny Klodt: In the same 1832, an event took place in the life of Pyotr Karlovich, perhaps even more important: the young academician married the niece of Martos, the rector of the Academy, - Yulenka. And, as time has shown, he acquired a treasure worthy of all his future deeds. My great-great-grandfather, genre painter Mikhail Petrovich Klodt, recalled: "My mother was pretty, slender and graceful. Moreover, she had a cheerful character." “With Yulenka, I am like Christ's in the bosom,” Peter used to say. The next order of the tsar, who, years later, will lead Klodt to his Olympus - to the Anichkov bridge, became a kind of gift for the newlyweds.
The road to Anichkov
The Anichkov Bridge was still narrow and empty then. And, perhaps, he would have remained so if Nicholas I had not appointed the young sculptor a new meeting - this time in his horse-guards arena, at a show of English stallions.
The horses were taken out by the English watermen. The tsar compared them with the mythological Dioscuri and asked Klodt: "What do you say, Baron?" “Noble horses, Your Majesty,” Peter answered evasively. “That's what,” the emperor continued. "We are rebuilding Palace Square: it would be nice to put horses and tamers there."
And Klodt thought that this time he could not do without a live horse, without genuine nature. The horse should be there all the time, day and night. This is the only way to become a waterman of your horse: first, tame and tame it yourself, and only then saddle - a bronze one.
And so they brought two purebred Arabian stallions from the tsar's stables to the academic stable - at the complete disposal of the sculptor: Peter could draw them, and sculpt, and feed them from his own hands, and harness them to his carriage.
And the work went on. Nicholas I, who visited the workshop and saw the horses still in the clay, said with admiration: "Baron, your horses are better than my stallions."
Evgeny Klodt: The first two groups were ready for casting. However ... How did Klodt's horses end up on the Anichkov Bridge? After all, both the tsar and then the academic council decided to install the "Tamers" (that was the conventional name) near the Admiralteisky Boulevard, at the entrance from the embankment to Palace Square. But one fine summer evening, Pyotr Karlovich left the house and went to look for his place. Many years later, collecting material for a book about my great-great-grandfather, my father Georgy Klodt followed the same path.
"... Through the Isaac pontoon bridge," his father said, "Pyotr Klodt went to the Admiralty and the Embankment - where he should put his horses. Right and left - the majestic spiers of Peter and Pauline and the Admiralty, between them the masts of ships. Well, if you look from the Nevsky "Right in the eye - a spire. So who and where will see his horses here? And, leaving the Admiralty behind him, he walked along Nevsky Prospekt. He crossed the Moika River, looked at Teatralnaya. Returned to Nevsky. Further, it seems, there was nowhere. But he And he stopped on the Anichkov Bridge, and Nevsky was leaving as many eyes as he could afford: carriages were racing, officers were prancing, ladies and gentlemen were walking, officials were in a hurry ... And, feeling a sudden heartbeat, Pyotr Karlovich understood - the choice was made: from this place he saw everything, and - everyone saw him! "
Cast it myself
Having decided (contrary to the Tsar's plan) to stage his sculptural "poem" on Anichkov, Peter only hinted about this to Nicholas - the agreement came by itself. The tsar understood that Anichkov was really out of date and needed reconstruction. And then Klodt's horses will be in place here.
The logic of Klodt's creative behavior invariably led him to success. So, while still a volunteer at the Academy, he became an apprentice to the best Russian foundry worker Vasily Yekimov. And having already become eminent, he did not leave artistic casting in order to reliably know what and how from sculpted will go into bronze. At that moment, when the first models were ready for casting, Yekimov suddenly died. And, as the only sculptor who perfectly mastered casting, Klodt was offered not only to dress his products in bronze, but also to head the entire Foundry House.
And now the solemn hour has come. A lot of people gathered around the smelting furnaces around Klodt and his henchmen. We were waiting for the start of the metal. The crowd, taking off their hats and crossing themselves, fell silent. The workers struck the cast with crowbars, and the molten bronze, breathing hotly and sparkling, flowed into the molds. Klodt was all in suspense. The workers were feverish from the heat - they were given milk to drink. The president of the Academy of Arts Olenin, unable to stand with excitement, sat outside the doors of the foundry and muttered prayers. Suddenly, a powerful "hurray" was heard. It's finished! Klodt went out to Olenin, collapsed next to him on a stool ...
And on the Nevsky Prospect, the Anichkov Bridge was being rebuilt. Architects, railway workers, builders - all of Petersburg worked on Klodt horses. Soon the second group of "Tamers" was cast - the one where the young vodnichy holds the rearing horse. For both the first and the second bronze groups, Klodt made copies of them in plaster, tinted in bronze. The tsar was eager to open the new Anichkov as soon as possible, placing sculptures on all four corners of the bridge. Did Pyotr Klodt then think that it would take another ten years before he played his entire brilliant performance in front of the Petersburgers at Anichkov - in four bronze scenes?
However, what St. Petersburg saw on November 20, 1841, amazed everyone: "The life of a horse and a man on Anichkov," the newspapers wrote, "represents a new world in art. Like a vodnik besieging a horse, the sculptor Pyotr Klodt took part of this art in his hands and turned from the wrong road to the real one. "
The tsar summoned Klodt and said: he wants to glorify his creations all over the world. And for this he donates the already cast sculptures to the Prussian king Frederick William IV, who is crazy about them. Peter had to go to Berlin with a gift.
Yevgeny Klodt: Here, by the way, one of the most amazing features of Pyotr Karlovich became clear, which became a characteristic feature of our dynasty: a descendant of foreigners, he was so Russian in spirit, habits, predilections that, being in Germany, he terribly yearned for his homeland. However, Klodt's "suffering" was rewarded: Friedrich Wilhelm awarded him the Order of the Red Eagle and a diamond snuffbox.
In the same year, he re-cast The Tamers. But already another guest of Nicholas I, the king of both Sicilies Ferdinand II, seeing the divine horses of Klodt, wished to see them every day in Naples. And having received them, he awarded Klodt with the Order of Naples. After that, European newspapers reported: "There are three miracles in Naples today: the body of the Savior taken from the Cross, covered with a transparent marble veil," The Descent of the Savior from the Cross "- a painting by Espagnoletta, and the bronze horses of the Russian Baron Klodt." Berlin, Paris, Rome awarded Peter Klodt the title of honorary member of their Academies.
Instead of an epilogue
"Tamers" on Anichkovoye became Klodt's swan song, sung by the sculptor at the age of forty-five, in the prime of his creative powers. Composing his best creation, he at the same time takes part in decorating the interiors of St. Isaac's Cathedral - his gorelf "Christ in Glory" decorated the frieze over the Altar Gates. Creates a giant bas-relief for the Marble Palace, depicting hunting and road paintings on it. In 1849, a year before the complete completion of the epic on Anichkov, he won the competition for a monument to the Russian fabulist Ivan Andreevich Krylov. And already in 1852 he casts and seats his "grandfather" in the Summer Garden - with an open book in his hands, with a sadly pensive face, surrounded by a whole menagerie of fable heroes.
The range of the sculptor in these years is striking: from an intimate "home" monument to Krylov in St. Petersburg to a truly universal statue of St. Vladimir in Kiev. Then Klodt proceeds to the last of his great works - the monument to Nicholas I. This accomplishment is both grandiose and symbolic. Peter Karlovich outlived his tsar by 12 years. But, in essence, his entire creative life was spent under the emperor, under his patronage. Who, if not him, was destined to leave the memory of the emperor? Probably everyone understood this. Including Montferrand - the creator of the Pillar of Alexandria, to whom Alexander II entrusted the construction of a monument to his father. The architect did not hesitate to offer Peter Klodt to mold and cast an equestrian statue of the king.
Once upon a time, the young "toy" Pyotr Klodt cut out a horse guard for Nicholas, surprisingly similar to the tsar. Thirty years later, becoming the first sculptor of Russia, he put the bronze "Horse Guards" on a pedestal ... Huge, almost two heads taller than his entire retinue, in a Nikolayev overcoat thrown over his shoulders, in a white cap with a red band, Alexander II stood in front of his father. Then, turning to Klodt, he silently extended his hand to him. The horse under the bronze king was torn into a gallop. It seemed that another moment - and the huge horseman would leave for the sky.
There are countless treasures of art in St. Petersburg: the genius of Rossi Street, the magnificent Winter Palace of Rastrelli, the grandiose Isaac of Montferrand ... And yet he is right who said: "There is no St. Petersburg without Klodt horses!"
Pyotr Karlovich Klodt (Klodt von Jurgensburg) (it. Peter Clodt von Jürgensburg; 1805-1867) is an outstanding Russian sculptor.
Boy, boy, officer
The family of the future sculptor consisted of hereditary military men. As is often the case, the surname was not rich, although well-born. His great-great-grandfather was one of the famous figures of the Northern War, was a major general in the Swedish service. The sculptor's father was a military general, fought in the Patriotic War of 1812. The portrait of the renowned general occupies a worthy place in the gallery of the Winter Palace. Despite the fact that P.K. Klodt was born in 1805 in St. Petersburg, he spent his childhood and youth in Omsk, where his father served as chief of staff of the Separate Siberian Corps. There, far from the standards of metropolitan education, far from European culture, the baron's penchant for carving, modeling and drawing was manifested. Most of all, the boy liked to portray horses, he saw a special charm in them. Like his ancestors, the boy was preparing for a military career. In 1822, at the age of 17, he returned to the capital and entered the artillery school. All the free time that remained from learning the military craft, he gave to his hobby. It is also known that during this period Klodt devoted a lot of time to studying the postures, gaits and habits of horses. "Comprehending the horse as a subject of artistic creation, he had no other mentor than nature."After graduating from college, the future sculptor received the rank of second lieutenant. The officer served in the training artillery brigade until the age of 23, and after that in 1828 he left military service and decided to continue to engage exclusively in sculpture.
Sculptor
For two years Klodt studied independently, copied modern and antique works of art and worked from nature. Since 1830 he has been a volunteer at the Academy of Arts, his teachers were the rector of the Academy I. P. Martos, as well as the masters of sculpture S. I. Galberg and B. I. Orlovsky. They, approving the work and talent of the young sculptor, helped him achieve success. Klodt's talent and tenacity brought unexpected dividends: from the beginning of the 1830s, his statuettes depicting horses began to enjoy great success.
Horses of the Narva Gate
A strong continuation of his career was a large government order for the sculptural decoration of the Narva Gate, together with such experienced sculptors as S. S. Pimenov and V. I. Demut-Malinovsky. Six horses are installed on the attic of the arch, carrying the chariot of the goddess of glory, made of forged copper according to Klodt's model in 1833. Unlike the classical depictions of this plot, the horses performed by Klodt rush forward and even rears up. Moreover, the entire sculptural composition gives the impression of a rapid movement. After completing this work, the author received worldwide fame and patronage of Nicholas I. There is a legend that Nicholas I said: "Well, Klodt, you make horses better than a stallion."
Anichkov bridge
 Anichkov bridge in the 1850s |
In late 1832 - early 1833, the sculptor received a new government order for the execution of two sculptural groups to decorate the palace pier on the Admiralty Embankment. In the summer of 1833, Klodt made models for the project, and in August of the same year the models were approved by the emperor and delivered for discussion to the Academy of Arts. The members of the Academic Council expressed their complete satisfaction with the work of the sculptor and it was decided to complete both first groups in full. After this success in the work on this project, there was a break due to the fact that Klodt was completing work on the sculptural composition of the Narva Gate. This break ended in the mid-1830s, and work on the project continued. Emperor Nicholas I, who oversaw the pier project, did not approve of the combination of lions and horses. Instead of the Dioscuri, vases were installed on the pier. PK Klodt drew attention to the project of rebuilding the Anichkov Bridge and suggested placing the sculptures not on the piers of the Admiralteyskaya embankment or on the Admiralteisky Boulevard, but to transfer them to the supports of the Anichkov Bridge. The proposal was approved and the new project included the installation of two pairs of sculptures on four pedestals on the west and east sides of the bridge. By 1838, the first group had been realized in kind and ready to be translated into bronze. Suddenly an insurmountable obstacle arose: the head of the Foundry House of the Imperial Academy of Arts, V.P. Ekimov, suddenly died without leaving a successor. Without this person, the casting of sculptures was impossible, and the sculptor decided to independently supervise the execution of the casting work.
Incarnation in bronze
To carry out the work, the skills of the foundations of foundry came in handy, which he was taught at the artillery school, practically mastered in the service in the artillery and used in the lessons of V.P. Ekimov when Klodt was an auditor at the academy. Having headed the Foundry yard in 1838, he took up the improvement, bringing technological innovations and modern methods to the work of production. The fact that the sculptor became a caster brought unexpected results: most of the cast statues did not require additional processing (chasing or corrections). To achieve this result, meticulous work on the wax original was required with reproduction of the smallest possibilities and a complete casting of the composition (up to this point, such large sculptures were cast in parts). Between 1838 and 1841, the sculptor managed to make two compositions in bronze and began preparations for casting a second pair of sculptures. On November 20, 1841, the bridge was opened after restoration. Two pairs of sculptural compositions stood on the side pedestals: bronze groups were located on the right bank of the Fontanka River (from the Admiralty side), and painted plaster copies were installed on the pedestal. Re-castings were made in 1842, but they did not reach the bridge, the emperor presented this pair to the Prussian king Frederick William IV and, on his instructions, the sculptures went to Berlin to decorate the main gate of the imperial palace. In 1843-1844 copies were made again. From 1844 until the spring of 1846, they remained on the pedestals of the Anichkov Bridge, then Nicholas I sent them to the "king of both Sicilies" Victor Emmanuel II (to the Royal Palace in Naples). Also, copies of sculptures are installed in gardens and palace buildings in Russia: in the vicinity of St. Petersburg - at the Oryol Palace in Strelna and Peterhof, as well as on the territory of the Golitsyn estate in Kuzminki near Moscow, the Kuzminki-Vlakhernskoye estate. Since 1846, plaster copies were again placed on the eastern side of the Anichkov Bridge, and the artist began to create a further continuation and completion of the ensemble. The participants in the composition were the same: the horse and the driver, but they had different movements and composition, as well as a new plot. It took the artist four years to make the copies, and in 1850 the plaster sculptures finally disappeared from the Anichkov Bridge, and in their place the soldiers of the Sapper Battalion under the leadership of Baron Klodt hoisted new bronze figures in place. The work on the decoration of the Anichkov Bridge was completed.
Plot
- In the first group the animal is obedient to man - a naked athlete, squeezing the bridle, restrains the rearing horse. Both the animal and the person are tense, the struggle is growing.
- This is shown using two main diagonals: the smooth silhouette of the horse's neck and back, which can be seen against the sky, forms the first diagonal that intersects with the diagonal formed by the figure of the athlete. The movements are highlighted with rhythmic repetitions.
- In the second group
the head of the animal is turned up high, the mouth is bared, the nostrils are swollen, the horse beats with its front hooves in the air, the figure of the driver is deployed in the form of a spiral, he is trying to upset the horse.
- The main diagonals of the composition approach each other, the silhouettes of the horse and the driver seem to intertwine with each other.
- In the third group
the horse overcomes the driver: the man is thrown to the ground, and the horse tries to break free, triumphantly arching its neck and throwing the blanket to the ground. Only the bridle in the driver's left hand prevents the freedom of the horse.
- The main diagonals of the composition are clearly expressed and their intersection is highlighted. The silhouettes of the horse and the driver form an open composition, in contrast to the first two sculptures.
- In the fourth group
man tames an angry animal: leaning on one knee, he tames the wild run of a horse, squeezing the bridle with both hands.
- The silhouette of the horse forms a very flat diagonal, the silhouette of the driver is indistinguishable due to the drapery falling from the back of the horse. The silhouette of the monument again received seclusion and poise.
Prototypes
 Statues of the Dioscuri in the Roman Forum. |
The figures of the Dioscuri in the Roman Forum on the Capitol Hill served as a direct prototype of Klodt's horses, but these antique sculptures had an unnatural motive of movement, and there was also a violation of proportions: in comparison with the enlarged figures of young men, the horses look too small. Another prototype was the "Horses of Marly" by the French sculptor Guillaume Couste (fr.), Created by him around 1740, and located in Paris at the entrance to the Champs Elysees from the Place de la Concorde. In the interpretation of the Kustu, the horses personify the animal principle, symbolize the swift, indomitable ferocity and are depicted as giants next to small drivers. Klodt, in turn, depicted ordinary cavalry horses, the anatomy of which he studied for many years. The realism of proportions and plasticity was depicted by the sculptor in the traditions of classicism and this helped to inscribe the sculptural decoration of the bridge in the historical architectural landscape of this part of the city. One of the major differences of this composition from the works of its predecessors is the rejection of the idea of \u200b\u200bcomplete and unconditional symmetry and the creation of a sequential work, consisting of four compositions.
Outcome
The sculptor spent 20 years of his life on this work. This work has become one of the most significant and famous works of the sculptor. After discussing the first two sculptural compositions at the art council in 1833, the academic council decided to elect the sculptor to the appointed academicians, which was done five years later - in 1838. Also in the same year, he was appointed professor of sculpture and headed the Foundry of the Imperial Academy of Arts. The work itself was recognized by contemporaries as one of the heights of the fine arts, comparable to the painting by KP Bryullov "The Last Day of Pompeii". In a short time, she gained European fame. Finally, the statues took their places only 10 years after the installation of the first options. They left their pedestals twice:
- In 1941, during the blockade, the sculptures were removed and buried in the garden of the Anichkov Palace.
- In 2000, the sculptures were removed from the bridge for restoration.
Recognized master
After he was recognized as a master of his craft, Klodt performed other sculptural works, but, according to art critics, the horses on the Anichkov Bridge remained his best work.
Service house
In the 1845-1850s, Klodt took part in the reconstruction of the "Service House" of the Marble Palace: according to the project of A.P. Bryullov, the lower floor was intended for palace stables, and the building overlooking the garden was supposed to become an arena. In connection with this purpose, to decorate the building along the facade, above the windows of the second floor, along the entire length of the middle part of the building, a seven-meter relief "Horse in the service of man" was made. It was executed by Klodt according to the graphic sketch of the architect, it consisted of four blocks, not united by a common plot or idea:
- Fighting riders;
- Horse processions;
- Horseback riding and chariot rides;
- Hunting plots.
Art critics believe that this relief was made by Klodt in the image and likeness of horses on the frieze of the Parthenon. This opinion is supported by the Roman vestments of the people depicted on the reliefs. The tympans of the side gables were also made by Klodt and depicted newts blowing into shells.
Monument to Krylov
The entire long life of the great Russian poet, who worked in the genre of fables, was associated with St. Petersburg: he came here at the age of thirteen and lived here for over sixty years, practically never leaving St. Petersburg. In this city, fame and popular love came to Krylov. When he left this world in 1844, his death was perceived as a nationwide grief. A year later, in 1845, an all-Russian voluntary subscription was announced through the newspapers in order to erect a monument to the fabulist. In 1848, more than 30 thousand rubles were collected, and a competition was announced by the Academy of Arts, all the leading sculptors of that time took part in it. The competition was won by Klodt's project. The original sketch was made in the monumental traditions of antiquity: The Mighty Poet in a Roman toga with a bare chest. But on the same sheet there is a version of the monument, reminiscent of the one in the Summer Garden. Klodt was able to use an innovative technique: he created a monument, unlike the plastic images of commanders, kings, nobles, who in his time adorned St. Petersburg and Moscow, abandoning the familiar language of allegories and creating a realistic portrait image. The sculptor depicted the fabulist sitting on a bench dressed in casual clothes in a natural relaxed position, as if he had sat down to rest under the lime trees of the Summer Garden. All these elements focus on the poet's face, in which the sculptor tried to convey the characteristics of Krylov's personality. The sculptor managed to convey the portrait and general resemblance of the poet, which was recognized by his contemporaries. The artist's idea went beyond a simple image of the poet, Klodt decided to create a sculptural composition, placing high-relief images of the characters of fables along the perimeter of the pedestal. The images are illustrative, and in 1849, to create the composition, Klodt hired the famous illustrator A.A.Agin to work. Klodt transferred the figures to the pedestal, carefully checking the images with living nature. Work on the monument was completed in 1855.
Monument criticism
Klodt was criticized for petty pickiness in order to achieve maximum realism in the depiction of animals in high relief, pointing out to the author that the characters in the fables in the imagination of readers were more allegorical than they were real crayfish, dogs, foxes. In addition, the authors of the monument were criticized for the disparity between the high relief of the pedestal, which is complex in composition, and the realistic artistic solution of the portrait statue. Despite this criticism, the descendants highly appreciated the work of the sculptors, and the Krylov monument took its rightful place in the history of Russian sculpture.
Monument to Prince Vladimir of Kiev
In 1833-1834, the sculptor V.I.Demut-Malinovsky worked on the project of a monument to Prince Vladimir of Kiev - the Kiev prince from 978 (according to other sources - from 980), the initiator of the baptism of Rus in 988. The work ended in 1835 with the presentation of the project to the President of the Imperial Academy of Arts. For unclear reasons, work on the project was suspended for a decade. In 1846 Demut-Malinovsky died, after which the architect K.A.Ton took over the management of the work. At the end of the same year, information appears that "The project is accepted for execution"... Tone rearranged the project, taking as a basis the sketch of the Demut-Malinovsky model and designed the pedestal in the form of a high tower-like church in the pseudo-Byzantine style. At that time Klodt was in charge of the foundry yard of the Academy of Arts, he was entrusted with casting the monument in bronze. Before casting, he had to reproduce a small figurine made at one time by Demut-Malinovsky on the gigantic scale of the monument. While doing this work, it is inevitable to make changes relative to the model. It is impossible to assess these differences, since it is not possible to compare the draft design with the monument: the draft model has not survived. Klodt did a great job on the face of the sculpture, giving it an expression of spirituality and inspiration. The monument is a bronze statue 4.5 meters high, installed on a pedestal 16 meters high. The monument is laconic and austere, in style it belongs to typical examples of Russian classicism. Prince Vladimir is dressed in a long, flowing cloak, in his hand is a cross, which he extends over the city. Klodt did his job very conscientiously, moved the statue from St. Petersburg to Kiev, and very well chose a place for it: the statue is inscribed in the high mountainous landscape of the Dnieper bank. The monument was erected in Kiev on the banks of the Dnieper in 1853. The monument was replicated on money - its image was used as a decoration for a Ukrainian denomination of 100 thousand karbovanets.
Monument to Nicholas I
Nicholas I (1796-1855) - All-Russian Emperor (1825-1855).
The monument to be installed on St. Isaac's Square in St. Petersburg was designed by Auguste Montferrand in 1856-1859. The monument was designed as a unifying center of a diverse architectural ensemble of a large area between the Mariinsky Palace and St. Isaac's Cathedral. Several sculptors worked on the design of the monument: Klodt himself made the figure of the emperor. The pedestal was designed by sculptors:
- N. A. Romazanov created three bas-reliefs.
- RK Zaleman in 1856-1858 completed four allegorical female figures: "Strength", "Wisdom", "Justice" and "Faith", and a bas-relief on the same pedestal, depicting Count MM Speransky Code of Laws to the Emperor.
- The top of the composition is the equestrian figure of the emperor. The original sketch, created by Klodt, represented a rider on a calmly standing horse. The author planned to reflect the character of the emperor with the help of facial expressions and gestures, but this option was rejected by Montferrand because it could not serve the original purpose of uniting spatial ensembles. The sculptor created a new sketch. In it, abandoning the idea of \u200b\u200bcharacterizing the character, he depicted a horse in motion, leaning only on the hind pair of legs. In this impetuous pose of a horse, the ceremonial figure of the emperor stands in opposition to it. To implement this sketch, the sculptor took the trouble to accurately calculate the weight of the entire equestrian figure so that it stood, relying on only two points of support. This version was adopted by the architect and embodied in bronze. Usually, everyone who turned to the description of the statue of Nicholas I noted the technical skill of performing the most difficult task - setting the horse on two points of support. For their strength, Klodt ordered iron supports (weighing 60 poods, worth 2000 silver rubles) from the best plant in Olonetskaya.
Assessment of work in Soviet times
- Soviet historians and art critics did not highly appreciate the compositional and stylistic composition of the monument and noted that the elements did not look like a single composition:
- The pedestal, the reliefs on the pedestal and the equestrian statue are not subordinate to a single idea and to some extent contradict each other.
- The forms of the monument themselves are crushed and overloaded with small details, and the composition is pretentious and overly decorative.
- At the same time, one can highlight the positive features of the composition:
- The composition meets the intended purpose and, complementing the ensemble of the square, gives it completeness and integrity.
- All parts of the whole are professionally made by masters of their craft, the artistic value of the elements is undeniable.
- Despite the fact that everything connected with tsarism was eradicated after the 1917 Revolution, the monument to Nicholas I on St. Isaac's Square due to its unique feature - a heavy equestrian statue rests only on its hind legs - was recognized as a masterpiece of engineering thought and was not destroyed in Soviet times.
Together with sculptors A.V. Loganovsky, N.A. Romazanov and others, worked on sculptures of the memorial temple in the "Russian-Byzantine" style - the Cathedral of Christ the Savior (built for almost 40 years), since September 10, 1839.
Sculptor's life summary
In addition to the tangible legacy in the form of graphics and plastics, which the master left to descendants, he conquered several more peaks in his life:
- Heading the Foundry Yard of the Academy of Arts, he achieved an improvement in the quality of artistic casting in Russia, and this gave impetus to the development of this art in Russia.
- He brought Russian animal studies to a new level, making it a self-sufficient discipline of art.
Small sculptural forms
Throughout his career, Klodt has worked in the direction of small forms plastics. The statuettes of this author were highly valued by his contemporaries. Some of them are recognized as works of art and are included in the collections of museums such as the State Russian Museum.
Death
The artist spent the last years of his life at his dacha (Halala manor, Grand Duchy of Finland), where he died on November 8 (20), 1867. He was buried at the Smolensk Lutheran cemetery, in 1936 the ashes were transferred to the Necropolis of Artists.
