By ΠΡΠ°ΠΌΡΠΊΠΎΠΉ ΠΠ²Π°Π½ ΠΠΈΠΊΠΎΠ»Π°Π΅Π²ΠΈΡ
ΠΠ²Π°Π½ ΠΡΠ°ΠΌΡΠΊΠΎΠΉ
Π ΡΡΠΎΠΉ ΠΊΠ½ΠΈΠ³Π΅ ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»Π΅Π½Ρ ΠΏΠΈΡΡΠΌΠ° ΠΠ²Π°Π½Π° ΠΡΠ°ΠΌΡΠΊΠΎΠ³ΠΎ, Π°Π΄ΡΠ΅ΡΠΎΠ²Π°Π½Π½ΡΠ΅ ΡΠ°ΠΌΡΠΌ Π±Π»ΠΈΠ·ΠΊΠΈΠΌ Π΅ΠΌΡ Π»ΡΠ΄ΡΠΌ: Π΅Π³ΠΎ ΠΆΠ΅Π½Π΅ Π‘ΠΎΡΡΠ΅ ΠΠΈΠΊΠΎΠ»Π°Π΅Π²Π½Π΅ ΠΈ Π΄ΡΡΠ³Ρ ΠΠΈΡ Π°ΠΈΠ»Ρ ΠΠΎΡΠΈΡΠΎΠ²ΠΈΡΡ Π’ΡΠ»ΠΈΠ½ΠΎΠ²Ρ. ΠΠΎΠ»ΡΡΠΈΠ½ΡΡΠ²ΠΎ ΠΈΠ· ΡΡΠΈΡ ΠΏΠΈΡΠ΅ΠΌ ΠΎΡΠ½ΠΎΡΡΡΡΡ ΠΊ ΠΏΠ΅ΡΠΈΠΎΠ΄Ρ ΡΠ°Π±ΠΎΡΡ Ρ ΡΠ΄ΠΎΠΆΠ½ΠΈΠΊΠ° Π½Π°Π΄ ΡΠΎΡΠΏΠΈΡΡΡ ΠΊΡΠΏΠΎΠ»Π° Ρ ΡΠ°ΠΌΠ° Π₯ΡΠΈΡΡΠ° Π‘ΠΏΠ°ΡΠΈΡΠ΅Π»Ρ Π² ΠΠΎΡΠΊΠ²Π΅. Π§Π΅ΡΠ΅Π· ΡΡΠΈ Π»ΠΈΡΠ½ΡΠ΅ ΠΏΠΎΡΠ»Π°Π½ΠΈΡ ΡΠ°ΡΠΊΡΡΠ²Π°Π΅ΡΡΡ ΠΏΡΠΎΡΠ΅ΡΡ ΡΠΎΡΠΌΠΈΡΠΎΠ²Π°Π½ΠΈΡ Π»ΠΈΡΠ½ΠΎΡΡΠΈ ΠΡΠ°ΠΌΡΠΊΠΎΠ³ΠΎ, Π΅Π³ΠΎ ΠΌΠ½ΠΎΠ³ΠΎΠ³ΡΠ°Π½Π½ΡΠ΅ ΠΈΠ½ΡΠ΅ΡΠ΅ΡΡ ΠΈ ΠΏΡΠΈΠ·Π²Π°Π½ΠΈΠ΅ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ ΠΊ ΡΠ²ΠΎΡΡΠ΅ΡΡΠ²Ρ, Π½ΠΎ ΠΈ ΠΊ ΠΎΠ±ΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠΉ Π΄Π΅ΡΡΠ΅Π»ΡΠ½ΠΎΡΡΠΈ. ΠΠΈΡΡΠΌΠ° ΠΊ ΠΆΠ΅Π½Π΅, Π½Π°ΠΏΠΎΠ»Π½Π΅Π½Π½ΡΠ΅ Π΄ΡΡΠ΅Π²Π½ΡΠΌ ΡΠ΅ΠΏΠ»ΠΎΠΌ, ΠΏΠΎΠΊΠ°Π·ΡΠ²Π°ΡΡ Π΅Π³ΠΎ ΠΊΠ°ΠΊ Π»ΡΠ±ΡΡΠ΅Π³ΠΎ ΡΠ΅ΠΌΡΡΠ½ΠΈΠ½Π°, Π»ΠΈΡΠΈΠΊΠ° ΠΈ ΡΠΎΠΌΠ°Π½ΡΠΈΠΊΠ°.
Ivan Kramskoy
This book features letters from Ivan Kramskoy addressed to his closest confidants: his wife Sofia Nikolaevna and friend Mikhail Borisovich Tulinov. Many of these letters date from the period when Kramskoy was engaged in painting the dome of the Cathedral of Christ the Saviour in Moscow. His correspondence offers insight into the development of his personality, his broad and diverse interests, and his strong calling towards both artistic creation and public engagement. The letters to his wife, imbued with warmth, portray him as a devoted family man, a loving husband, a lyricist, and a romantic.