Everyone knows the painting by V. Pukirev" Unequal marriage"
For “a picture where there is no fire, no battle, no ancient, no new history“, for a huge canvas with the artist’s unusual view of things, V. Pukirev receives the title of professor. The incident was unprecedented - everyone was excited new topic, modern and relevant - the theme of the power of money.

The painting “Unequal Marriage” by Vasily Pukirev has never been fully solved. Who is this girl? What kind of dark, handsome man with crossed arms is standing behind her, staring at the “young groom’s” back with a hateful and desperate look? And what is the ghostly old woman, invisible at first glance, in a wedding dress to the left of the groom doing, and why is she looking at him with such a strange look? And finally, is it true that the film is autobiographical?

The girl is a real flower; Pukirev surprisingly managed to convey her tenderness, defenselessness, and vulnerability. She seems like a child who has just barely begun to grow into a girl. Her whole appearance is filled with the charm of youth. The bride is painted in round, soft lines, her face and shoulders and, to a lesser extent, her white dress being the most radiant elements of the scene.

But the groom, on the contrary, seems to consist entirely of angles and straight lines, symbolizing withering, death, an atmosphere in which the bride’s girlish charms will fade. On his neck is the Order Cross of Vladimir, II degree, and on the left side of his chest is the star corresponding to this order. (order Russian Empire in 4 degrees for military distinction and civil merit.)

To the left of the groom is an old woman, and on her head is an absurd decoration for her age... Wedding? Isn’t there another old woman peeking out to the left of the priest? Please note that the artist “dipped” only these two old women in dull colors.
Art critic, senior employee Tretyakov Gallery Lyudmila Polozova suggested that these ghostly old women, giving the picture a dark mystical flavor, are previous deceased wives.
The male figure behind the bride also attracts attention - a stately, gloomy young handsome man with crossed arms.

In his image one can discern a resemblance to the artist himself. So maybe the story is autobiographical? And next to him stands a man, the only one whose gaze is directed at the viewer. In his eyes one can see an understanding of the essence of what is happening and deep sympathy for the victims of this action. There is a version that his prototype is Pyotr Shmelkov, Pukirev’s friend at the Moscow School of Painting, Sculpture and Architecture.
Perhaps here lies the explanation for the fact that Vasily Pukirev painted this picture so quickly and swiftly, and the fact that it so touches the heartstrings, leaving no one indifferent? And maybe that is precisely why he did not enjoy the success of “Unequal Marriage” exhibited at the Autumn Exhibition of 1863 at the Academy of Arts, but hastily went abroad?
Another fact speaks in favor of this version. In 2002, the Tretyakov Gallery acquired pencil drawing, made by artist Vladimir Sukhov in 1907. It is signed: “Praskovya Matveevna Varentsova, with whom 44 years ago the artist V.V. Pukirev wrote his famous painting"Unequal marriage." Mrs. Varentsova lives in Moscow, in the Mazurin almshouse.”

The version suggests itself that young Vasily Pukirev fell in love with beautiful girl Praskovya, who was married to a rich merchant Varentsov. She outlived her old husband, but judging by the fact that the latter famous portrait she was made in an almshouse, this marriage did not bring her happiness and wealth.

However, there is another story connected with the picture. The fact is that the Tretyakov Gallery houses a sketch for the painting “Unequal Marriage.”

And what do we see? A stern-looking man with crossed arms still stands behind the bride. But this is a different person! Surprisingly, the same surname appears in this version. Either we still don’t know everything about this picture, or is it a strange coincidence?

Vasily Pukirev’s friend’s name was Sergei Varentsov. He was in love with Sofya Rybnikova. They belonged to the same circle - merchant children. But it so happened that they chose someone else over him - either his parents, or the girl herself... Sophia married Andrei Karzinkin. He was indeed richer than Varentsov and older than the bride - but not enough to become the real prototype of the picture: the age difference between him and the bride was 13 years. And since the Varentsov and Karzinkin families were connected by other ties and affairs, Sergei still could not refuse the “honor” of being the best man at the wedding. That's why he is depicted behind the bride.
Apparently, Sergei Varentsov suffered a lot, shared his experiences with his friend and pushed him to create this picture. But some time passed, passions subsided, Varentsov got ready to marry someone else. And having discovered that Pukirev decided to perpetuate his suffering over his past love, he created a huge scandal. As a result, Vasily Pukirev retained the title and plot of the picture, but at the same time modified it. And since the friend’s trauma has already been overgrown with reality, and he himself experienced similar story(they were a common phenomenon at that time), the artist painted himself behind the back of the young bride.
This is true on all sides because ex-fiancee Sergei Varentsov, Sophia, as life has shown, did not enter into an “unequal” marriage, but on the contrary, into a very happy marriage. They had three children, and they and Andrei Karzinkin lived their entire lives in love and harmony.
As for the image of “Kashchey”, the groom, researchers are inclined to believe that it turned out to be collective. In him one finds features of the Tver leader of the nobility Alexei Poltoratsky, Prince Pavel Tsitsianov and even the cook who served in the house of Sergei Varentsov. Probably, the one to whom Pukirev’s bride was married off is visible here.

So is the film autobiographical?

N.A. Mudrogel, the oldest employee of the Tretyakov Gallery, hired by Tretyakov himself, recalled:
“In Pukirev’s painting “Unequal Marriage,” the artist depicted himself as the best man behind the bride... And in general, the whole picture, as I know, is an echo of the artist’s personal drama: the bride in the picture was supposed to become his wife and did not, a rich and noble old man ruined her life".
His friend S.I. Gribkov also spoke about this tragedy of Pukirev. In the book “Moscow and Muscovites” Gilyarovsky wrote:
“S.I. Gribkov always spoke with delight about V.V. Pukirev: “After all, this is Dubrovsky, Pushkin’s Dubrovsky!” Only he was not a robber, but his whole life was like Dubrovsky’s - handsome, powerful, talented, and the same fate! Comrade and friend of V.V. Pukirev with youth knew the history of the painting “Unequal Marriage” and the whole tragedy of the author’s life: this old important official is a living person. The bride next to him is a portrait of V.V. Pukirev’s bride, and the one standing with his arms crossed is V.V. Pukirev himself, as if alive.”
Pukirev never started a family. Something seemed to break in him. Things weren't going well. Luck turned away from him. He painted new paintings, but they did not find a buyer. Pukirev started drinking, stopped teaching at the school, sold his collection of paintings, lost his apartment, lived on handouts from friends and died in obscurity on June 1, 1890. So, having painted someone else’s fate in the picture, it was as if he had predicted his own.

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"Unequal marriage." Painting by V.V. Pukireva. 1947. Author: V. Zimenko

Advanced art criticism, and above all Vladimir Vasilyevich Stasov, an ardent defender of living realistic art, welcomed the painting of the young artist. The carried away Stasov found her excellent in all respects and even belittled, to please her, another central event of the 1863 exhibition - “ Last Supper", the work of a remarkable artist-thinker Outstanding Russian historical painter and portrait painter. One of the founders of the Association of Itinerants. Master psychological portrait, his brush belongs to a beautiful portrait of L. N. Tolstoy..... “For example, “ . 1862 Oil on canvas, 173 x 136» Mr. Ah, one of the most faithful reproductions modern life“,” he wrote in one of the articles of the late 60s... “Here, not one general motive is perfectly captured, - this motive, which is repeated almost every day everywhere, no, besides it, all the surrounding details are comprehended by the right eye, expressed by the workshop hand." Even earlier, in a review of the 1863 exhibition, Stasov noted that the awarding of the title of professor to the author of “Unequal Marriage” was, as he put it, “a breaking through of the previous dams, a complete recognition of the legality ... of those works that until now had to make their way timidly, sideways and with apologies, like some kind of contraband.”

The composition of the painting is structured in such a way that the viewer gets the feeling that the action in the painting is not limited to the persons depicted. The row of figures on the background can easily be continued in both directions, so that the entire image is perceived as a crowd scene, including large number participants who are keenly interested in what is happening.

In the center of this group are two hands: the hand of the priest and the hand of the bride, and, looking at them, we, as if in focus, perceive the entire dramatic situation of the picture.

Without avoiding some sentimentality in depicting the dramatic plot, Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... nevertheless, he did not approach the resolution superficially favorite topic. The painting has a dual focus: it protests and denounces. Protests against the oppression of a beautiful human being, denounces the emptiness and soullessness of representatives of “high society.”

Only a man whose morality was crippled by unlimited power over people, by serfdom, could calmly decide to marry a girl against her will, essentially buying her from her parents. And the driving principle on his part was not ardent feeling, but arrogance and tyranny. The groom in the picture Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... and inaccessible light human feeling, and this is not just because he is an old man. He could be younger, and yet marriage with him would be an unequal marriage, a misfortune for the bride. She would have to exchange real treasures - beauty, freshness, cordiality - for the penny splendor of rank, capital and nobility. Pukirev did not sufficiently expose the social meaning of the conflict; the Groom’s advanced age masks his social decrepitude, but, undoubtedly, the artist felt the social content of his chosen topic. V. Stasov very subtly noted in one of his magnificent critical articles the social orientation of the film: “ . 1862 Oil on canvas, 173 x 136State Tretyakov Gallery» Pukireva is one of the most capital, but at the same time the most tragic pictures Russian school. What could be simpler than the plot taken here? Isn’t the sale and purchase of a bride a scene that everyone sees with their own eyes almost every day?” Buying and selling - this is what human relations have come down to in that environment, the flesh: from the flesh of which the high-ranking groom is born. Pukirev protested against this situation both as a person and as a citizen. His painting, restrained in painting, is an example of ideological art.

The theme of protecting the violated rights of women is one of the main themes of Russian art and literature.

The great Russian poet Nekrasov, in beautiful lines from the poem “Frost, Red Nose,” excitedly described the fate of a Russian peasant woman:

Fate had three hard parts,
And the first part: with a slave of rank,
The second is to be the mother of a slave's son,
And the third is to submit to the slave until the grave;
And all these formidable shares fell
To a woman of Russian soil.

Life for women of other classes was often little better. Violence and arbitrariness in treating a wife were a commandment of the married life of a merchant. Ostrovsky already touched on this topic in his early play “The Poor Bride.” The image of Katerina from his drama “The Thunderstorm” became a deep generalization of the typical life tragedy of a Russian woman, married to an unloved man against her will, a tragedy brilliantly shown later by Leo Tolstoy in the novel “Anna Karenina”.

Russian artists thought painfully about the fate of women.

A series of paintings dedicated to showing a woman’s difficult lot: “The Arrival of a Governess at a Merchant’s House”, “The Funeral of a Peasant”. Close to the picture Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... Zhuravlev chose the theme in a small canvas of 1874 “Before the Crown,” where a crying daughter on her knees begs her father, a tyrant merchant, not to force her into marriage.

Painting Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... and made a great impression on her contemporaries. Repin noted its impact in his memoirs: “ . 1862 Oil on canvas, 173 x 136State Tretyakov Gallery» Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... and also, they say, he spoiled a lot of blood not only for the old general, but for N.I. Kostomarov, having seen the picture, took back his intention to marry the young lady.”

The images of the picture were so in everyone’s memory that Leskov, in his novel “On Knives,” risked a curious ironic reincarnation of the characters in the scene. "It was a picture Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... « . 1862 Oil on canvas, 173 x 136State Tretyakov Gallery“Only topsy-turvy,” he describes the wedding scene. - The plump bride Elena Dmitrievna Figurina, in a white dress, stood straight and boldly held her candle in front of the wedding dress, and the groom Iosaf Platonovich sank down, his knees bent, his head fell on his chest, and tears flowed down his cheeks from tear-stained and red eyes, which he caught it with his lips and swallowed..."

Following the example of the London World's Fair of 1862, a world's fair was to be held in Paris in 1867. " . 1862 Oil on canvas, 173 x 136State Tretyakov Gallery» Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... and was included among the exhibits of the Russian department and sent to Paris along with other works of the modern Russian school of painting.

Demanding P.M. Tretyakov, who had already begun collecting his collection at that time, heard about new work, hurried to see him and negotiated the purchase. Correctly guessing the meaning and merits of the painting, he bought it for his gallery at the end of 1870 or beginning of 1871, paying one thousand five hundred rubles in silver to its owner, A.A. Borisovsky.

Position Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... and after the success of the picture it strengthened significantly. In the summer of 1864, he made a second trip abroad; his wealth allowed him to collect works by old masters.

His works from this time are small in size and represent typical, somewhat anecdotal “genres”. This is the canvas “The Artist’s Workshop” (1863-1864), purchased in 1868 by Tretyakov. It depicts the arrival of Customers to the painter’s workshop, getting acquainted with samples of the master’s work. Here is a general portraying an expert, and a perplexed, portly merchant. He understands nothing either in the works or in the words with which the artist accompanies the display of his works. The painting “The Baptism of a Jew” (1869-1870) and “Reception of a Dowry by Painting” (1870-1871) were painted in the same spirit. In the latter, painted in blue and pink tones, the artist’s great attention to colorful relationships is noticeable. A repetition of this painting was acquired in 1873 by Tretyakov.

Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... is keenly interested in the life around him. Unlike many “Itinerants” who were engaged in the development of any one theme, Pukirev was attracted by both peasant life (“Collecting arrears”, 1869-1870, “Potrava”, 1870) and the life of workers (“Building railway", 1870), and scenes merchant life(“In the concessionaire’s reception room,” 1875-1876). One of the first Russian artists, along with Schwartz, Pukirev painted on historical topic from the era of Ivan the Terrible: “Philip Metropolitan and Ivan the Terrible in the Assumption Cathedral” (1873).

In 1873 he left his teaching job. His powerful health is undermined by a serious illness - a nervous disorder complicated by heart disease. The money accumulated earlier is gradually spent, and life becomes more and more difficult. In 1874-1875 Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... copies " . 1862 Oil on canvas, 173 x 136State Tretyakov Gallery“, during periods of weakening of the illness, he tries to engage in creativity again. In the 70s he wrote: “The Jealousy of a Woman,” “Failed Marriage,” “The Orphan,” “On the Day of the Annunciation.” Previously sociable, infinitely kind and unusually handsome, according to reviews from people who knew him, Pukirev now becomes gloomy and irritably withdraws into himself. On March 15, 1879, a group of teachers of the School, among whom we find Pukirev’s fellow students - The largest artist of the second half of the twentieth century, representative critical realism. A wonderful portrait painter, author of paintings on historical and biblical themes.... and Popov, accepted in his place by Bykovsky and others, submits a petition to the Moscow Council art society about assistance to the sick Pukirev. But the assigned pension of two hundred rubles a year did not bring much relief to the artist. Close friends - artists Nevrev and kind-hearted Gribkov - help their friend from their modest means, send money to P.M. Tretyakov is trying to increase his pension. The petition sent to the Academy is returned with a cold note from the conference secretary stating that the petitioner is not applying according to his affiliation.

The sick artist does not even have a constant angle. The apartment he rented in the mid-60s in Milyutin’s house near the Sretensky Gate became beyond his means. In 1881, he lives behind the Dorogomilovskaya outpost in the village of Davydovka. Later, in 1884, he moved to Rakhmanov’s house on Babiy Gorodok. The year 1885 finds him in Lyubimov’s house in the same area.

The year 1886 arrived. Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... felt a little better. “This summer,” he writes to Tretyakov, “I felt quite well and painted Christ in full size, walking through the desert, illuminated by sunset.” Having contacted the Academy with an offer to buy your new work, Born in the village of Luzhniki (Tula province) in 1832 into a peasant family. Initially he studied with an icon painter in Mogilev, then (1847-1858) he studied at the Moscow School of Painting, Sculpture and Architecture (MUZHVZ); while continuing to paint icons. He taught at MUZHVZ... received a refusal. Tretyakov, who was sympathetic to him, also did not consider it possible to acquire this apparently rather weak thing. The artist is selling his small collection. Shebuev's drawing and Kiprensky's "Head" were probably bought by Tretyakov, to whom Pukirev offered them in a letter on December 21, 1886.

The artist’s last refuge was the house of priest Sakharov near Bozhedomka. Here he died on June 1, 1890. In the appendix to the "Bulletin" fine arts"Somov placed a short, warmly written obituary about him, with the last sentence of which we conclude our short story about the artist: “Among his comrades and students, he left a warm and lasting memory, and in the history of Russian art - a brilliant, albeit short, mark.”

V. Zimenko
Publishing house "Art". 1947
Series “Mass Library”

Plot

Old ugly man takes a girl as his wife, so young that it’s even embarrassing to look at. The bride probably does not have a dowry, and the groom has plenty of money, which is why they give the young beauty for him.

Get married in Orthodox Church. The girl’s eyes are teary, her pose is submissive. The groom feels like the master of the situation and watches the bride with superiority. A veil, a white dress that literally glows in the rays of light falling on it, make the girl’s image look like an angel. It seems like all this dirt can't touch her.

Viewers nicknamed the film “Unequal Marriage” “Koschei with the Bride”

The people around are shown in twilight, even the priest, as if on the side of evil - after all, realizing that the girl is not marrying of her own free will, he still marries the couple. Those around you are no better. All of them are silent witnesses, which, of course, does them no credit.

"In the Artist's Studio" (1865)

Each of the supporting characters plays their own role. Who is looking at the bride, who is watching what is happening with condemnation, who is obsequiously turned towards the groom, who is determined to pull off this business (for example, an old woman next to the groom - perhaps this is a matchmaker or the mother of the bride).

Context

There are several versions of whose story of unhappy love inspired Pukirev’s painting. But we must admit that in those days such cases were, although unpleasant, but common. On the one hand, this was condemned, on the other, this custom continued to exist for many years.

> “Reception of a dowry in a merchant family by painting” (1873)

According to the plan, the place of the best man should not have been Pukirev at all, but his friend Sergei Varentsov. The artist painted the bride from her namesake, Praskovya Varentsova, who came from a noble family. They say that Pukirev was in love with her, but had no chance of becoming her husband - his peasant origin and lack of any capital did not allow it.

It is believed that Kostomarov, having seen “Unequal Marriage,” changed his mind about getting married

Varentsov was offended by Pukirev. The fact is that Sergei Mikhailovich was going to get married, and gossip, which, of course, would have spread, was undesirable. Then the artist, who looked like his friend, added a beard to the best man and “turned” him into himself.

The groom was painted from several people, apparently: from whom - the head, from whom - the face, and from whom - the crown of gray hair.

Illustration for " Dead souls", 1880

Next to the best man, Pukirev’s friend, artist Pyotr Shmelkov, is depicted. On the side is the head of the frame maker Grebensky, who promised to make the artist a frame for a painting “like never before.” And he did. Carved from solid wood - both flowers and fruits. Tretyakov liked it so much that he began ordering frames from Grebensky.

The fate of the artist

The artist’s life can be divided into two parts: before “Unequal Marriage” and after. Before the presentation of the painting, everything went slowly but surely: despite his peasant origin, Pukirev was able to enter the Moscow School of Painting, Sculpture and Architecture, after which he began teaching there, while at the same time very successfully completing private orders.

Having not created anything better than “Unequal Marriage,” Pukirev drank himself to death

The artist's subsequent works were significantly inferior in technique and, as a result, did not delight either critics or buyers. Pukirev started drinking, stopped teaching at the school, sold his collection of paintings, lost his apartment, lived on handouts from friends and died in obscurity on June 1, 1890.

Vasily Vladimirovich Pukirev, “Unequal Marriage”

V.V. was born. Pukirev in a peasant family. Feeling a calling to painting, Vasily began studying with one of the Mogilev icon painters. In the second half of the 1840s. he ends up in Moscow and after some time (in 1847) he enters the Moscow School of Painting, Sculpture and Architecture, where, as he acquires the necessary skills, he becomes an excellent draftsman.

Having successfully completed the course in 1858, Pukirev earned his living by painting icons and portraits, and soon returned to his native school as a drawing teacher.

In 1860 he received the title of academician for his large portrait sketch “Girl”. And in 1863, “Unequal Marriage” (1862) appeared at an academic exhibition, and the whole of Russia recognized Pukirev’s name, since the picture caused heated controversy in the press. The artist managed to create a picture that was literally “doomed” to success. The work attracted everyone's attention and caused the most controversial opinions.

Unequal marriage. How much grief and cruel suffering such marriages brought to their victims! How many tragedies they gave rise to in past times! It is no coincidence that the theme of unequal marriage has come through everything Russian art. In mournful, filled with sadness folk songs A Russian woman cried about her bitter lot.

Many outstanding masters of words, brushes, and music were captivated by this theme with its tragedy. A.S. Pushkin touched on it in the story “Dubrovsky”. WITH enormous power the tragedy of the Russian woman is reflected in a number of works by the great interpreter folk life A.N. Ostrovsky (“Dowry”, “Thunderstorm”). And finally, this topic received its deepest social understanding in the works of N.A. Nekrasova. What inescapable pain do the lines about heavy female share in works such as the poem “Rural Sorrow” or in the poems “Who Lives Well in Rus'” and “Frost, Red Nose.”

The motive for unequal marriage, drawn from life itself, came to fine arts much later than in literature, in the 1860s, during an era of rapid social upsurge. It was during these years that he began his creative path Pukirev, who belonged to the glorious galaxy of those sixties who laid the foundations of the art of critical realism. Coming from peasant family, Pukirev, who knew people's life well, was captured by the general democratic movement and reflected in his best works the thoughts and feelings that worried the progressive people of his time. The painting “Unequal Marriage” can be called the pinnacle of the artist’s creativity.

The dimly lit parish church. Objects of church utensils are drowning in the surrounding darkness. Only when you look closely do you notice the intricate bronze curls of the heavy chandelier, the dull gleaming gilding on the royal doors and the silhouettes of dark icons barely visible on them. A strong stream of light, falling from an invisible source somewhere to the left, from outside the canvas, rushes into the darkness, harshly illuminating the central group - the groom, the bride and the priest.

Everything speaks very clearly about an unequal marriage. This is clear to the viewer at first glance at the picture. What brought here such a young girl, so touching in her charm and purity, what made her connect her life with an old man? Dry prudence and callous selfishness shine through the features of his face. He is a man without a heart, without a soul, and the marriage into which he enters is nothing more than the whim of an elderly sensualist, the willfulness of a rich tyrant. Already now, cold, cruel words are ready to fall from his half-open lips, condemning the tears and despair of his poor bride.

The artist based his work on the painting on a real event - the story of the unhappy love of Pukirev's friend SM. Varentsova. A year before the creation of the picture, a wealthy manufacturer, already quite elderly, became engaged to a young girl from a poor family, a certain S.N. Rybnikova, beloved SM. Varentsova. For some reason, the girl married not her loved one, but a rich manufacturer, and her lover had the role of best man at this wedding.

Taking as a basis real event, the artist did not limit himself to his protocol image. Fact of Life he subordinated it to his creative plan, which was based on social generalization. Pukirev made the groom much older and more decrepit than he actually was, while the bride looks almost like a child. Blatant injustice unequal marriage began to be perceived with visual conviction. In addition, trying to convey the negative properties of the hero, Pukirev turns him from a manufacturer into a civilian general-official, from whom something bureaucratic, dry, and prim emanates. How sharp and unpleasant are the deep wrinkles of his long, callous, decrepit face! It seems especially motionless and frozen, pinched by a tight and rigid collar. On the groom’s neck is the Order Cross of Vladimir, II degree, and on his chest the star corresponding to this order shines. He is filled with a sense of his own importance. Seeing the tears of the bride, he did not even turn his head in her direction and, only squinting his eyes, whispered to her his annoyance.

For the same purpose of contrast, Pukirev painted an image of a young bride full of charm. The gentle oval of her pretty face, silky brown hair, graceful small mouth - everything about her is full of girlish charm. She seems especially touching and pure in her wedding dress. In sharp contrast to the priest’s stiff robe, the transparent muslin of her veil and the delicate foam of the lace of her dress seem almost weightlessly light.

The best man's face was easily recognizable - Pukirev painted it from life. In the other man, to the right of the bride, one can discern the features of the artist himself.

Until the last moment the girl must have hoped for something that would prevent this terrible marriage for her. Now that the wedding ceremony is coming to an end, there is nothing more to wait for. Lowering her tear-stained eyes with eyelids swollen from tears, not looking at the priest, she, almost losing strength, slowly, as if half asleep, not noticing that the candle she holds in her fallen hand is almost touching the flame of her dress, extends her other hand the priest so that he is heavy wedding ring forever shackled her fate with this alien, unloved man. The painting was bought by P.M. Tretyakov, the Academy of Arts awarded Puki-rev the title of professor of painting of folk scenes.

In 1873, the artist became seriously ill and was forced to leave teaching. In 1879, his colleagues secured a modest pension for him. But there was not enough money, painting was not successful. Pukirev sold his collection of paintings and changed apartments. His character, previously friendly and gentle, also changed. In 1890, the half-forgotten artist died in poverty.

In the summer of 2016, the Tretyakov Gallery hosted one of the most interesting exhibitions - “Secrets of Old Paintings”. The project consisted of 17 mysterious plots - 17 masterpieces of the museum with their stories, riddles and secrets. Each story deserved special, reverent attention, but most of all I liked the “secret” of “Unequal Marriage” by V. Pukirev.

For “a picture where there is no fire, no battle, no ancient or modern history,” for a huge canvas with the artist’s unusual view of things, V. Pukirev receives the title of professor. The case was unprecedented - everyone was excited by a new topic, modern and relevant - the topic of the power of money.

For those who do not remember the plot of the film, I suggest you familiarize yourself with the stunning presentation video from the Tretyakov Gallery:

There are more and more guesses...

The painting “Unequal Marriage” by Vasily Pukirev has never been fully solved. Analyzing it, we step on the shaky ground of guesswork. Who is this girl? What kind of dark, handsome man with crossed arms is standing behind her, staring at the back of the “young groom” with a hateful and desperate look? And what is the ghostly old woman, invisible at first glance, in a wedding dress to the left of the groom doing, and why is she looking at him with such a strange look? And finally, is it true that the picture is autobiographical? Let's try to figure it out.

The plot of the painting “Unequal Marriage” will leave few people indifferent: the twilight of the church, the light falling from the window brightly illuminates the three main characters of the picture - the groom, the bride and the priest... The young, sad bride resignedly stretches out her hand, onto which the priest, bowed in a flattering bow, will now put on a ring, and will give her into the power of the old rich sensualist, the prim groom holding a candle.

Wedding, wedding! Yes, something sad...

“Unequal marriage” by V. Pukirev, fragment of the painting - The Bride and the Ring

The girl is a real flower; Pukirev surprisingly managed to convey her tenderness, defenselessness, and vulnerability. She seems like a child who has just barely begun to grow into a girl. Her whole appearance is filled with the charm of youth. The bride is painted in round, soft lines, her face and shoulders and, to a lesser extent, her white dress being the most radiant elements of the scene.

But the groom, on the contrary, seems to consist entirely of angles and straight lines, symbolizing withering, death, an atmosphere in which the bride’s girlish charms will fade. On his neck is the Order Cross of Vladimir, II degree, and on the left side of his chest is the star corresponding to this order. (Order of the Russian Empire in 4 degrees for military distinction and civil merit.)

He is filled with a sense of his own importance. Seeing the bride's tears, he expresses his annoyance to her. Already now, cold, cruel words are ready to fall from his half-open lips, condemning the tears and despair of his poor bride.

In essence, we have before us a purchase and sale agreement. And everyone present participates in this crime: the girl’s parents or aunt, who are not visible, but who agreed to this deal, the fat priest in a gilded robe, the elderly groom himself...

By the way, let’s allow ourselves a little cynicism in the hope of a better future for the girl. Maybe the old man will soon... be the same? And there will be a young rich widow left? In search of an answer to this question, let's take a closer look at the guests.

To the left of the groom is an old woman, and on her head is an absurd decoration for her age... Wedding? Isn’t there another old woman peeking out to the left of the priest? Please note that the artist “dipped” only these two old women in dull colors.

Art critic and senior employee of the Tretyakov Gallery Lyudmila Polozova suggested that these ghostly old women, giving the picture a dark mystical flavor, are previous wives. Sent “in retirement”? Or escorted to the grave? The second version is more likely, otherwise what would they do at the wedding.

And with what interest the eyes of the man behind the first old woman look - he is the only one who looks at the ring that will now be put on the girl’s finger. And with what dead, sarcastic gaze the old women look at the bride.

The male figure behind the bride also attracts attention - a stately, gloomy young handsome man with crossed arms.

In his image one can sense the resemblance to the artist himself. So maybe the story is autobiographical? And next to him stands a man, the only one whose gaze is directed at the viewer. In his eyes one can see an understanding of the essence of what is happening and deep sympathy for the victims of this action. There is a version that his prototype is Pyotr Shmelkov, Pukirev’s friend at the Moscow School of Painting, Sculpture and Architecture.

Perhaps here lies the explanation for the fact that Vasily Pukirev painted this picture so quickly and swiftly, and the fact that it so touches the heartstrings, leaving no one indifferent? And maybe that is precisely why he did not enjoy the success of “Unequal Marriage” exhibited at the Autumn Exhibition of 1863 at the Academy of Arts, but hastily went abroad?

Another fact speaks in favor of this version. In 2002, the Tretyakov Gallery acquired a pencil drawing made by the artist Vladimir Sukhov in 1907. It is signed: “Praskovya Matveevna Varentsova, with whom 44 years ago the artist V.V. Pukirev painted his famous painting “Unequal Marriage.” Mrs. Varentsova lives in Moscow, in the Mazurin almshouse.”

A version suggests itself that young Vasily Pukirev fell in love with a beautiful girl Praskovya, who was married off to the rich merchant Varentsov. She outlived her old husband, but judging by the fact that the last known portrait of her was taken in an almshouse, this marriage did not bring her happiness and wealth.

However, there is another story connected with the picture. The fact is that the Tretyakov Gallery houses a sketch for the painting “Unequal Marriage.”

And what do we see? A stern-looking man with crossed arms still stands behind the bride. But this is a different person! Surprisingly, the same surname appears in this version. Either we still don’t know everything about this picture, or is it a strange coincidence?

Vasily Pukirev’s friend’s name was Sergei Varentsov. He was in love with Sofya Rybnikova. They belonged to the same circle - merchant children. But it so happened that they chose someone else over him - either his parents, or the girl herself... Sophia married Andrei Karzinkin. He was indeed richer than Varentsov and older than the bride - but not enough to become the real prototype of the picture: the age difference between him and the bride was 13 years. And since the Varentsov and Karzinkin families were connected by other ties and affairs, Sergei still could not refuse the “honor” of being the best man at the wedding. That's why he is depicted behind the bride.

Apparently, Sergei Varentsov suffered a lot, shared his experiences with his friend and pushed him to create this picture. But some time passed, passions subsided, Varentsov got ready to marry someone else. And having discovered that Pukirev decided to perpetuate his suffering over his past love, he created a huge scandal. As a result, Vasily Pukirev retained the title and plot of the picture, but at the same time modified it. And since his friend’s trauma had already become a reality, and he himself had a similar story (they were a common phenomenon at that time), the artist painted himself behind the young bride’s back.

This is fair from all sides, because Sergei Varentsov’s ex-fiancee, Sophia, as life has shown, did not enter into an “unequal” marriage, but, on the contrary, into a very happy marriage. They had three children, and they and Andrei Karzinkin lived their entire lives in love and harmony.

As for the image of “Kashchey”, the groom, researchers are inclined to believe that it turned out to be collective. In him one finds features of the Tver leader of the nobility Alexei Poltoratsky, Prince Pavel Tsitsianov and even the cook who served in the house of Sergei Varentsov. Probably, the one to whom Pukirev’s bride was married off is visible here.

Criticism

The picture was received enthusiastically. Vladimir Stasov, seeing the picture, wrote: “Finally. Finally appeared major work on a theme taken from modern life." The critic believed that Pukirev’s painting “... is one of the most capital, but at the same time tragic, paintings of the Russian school.” Repin wrote about its special impact: “Pukirev’s unequal marriage... they say it spoiled a lot of blood for more than one old general.” And the historian Nikolai Kostomarov honestly admitted that, after looking at this picture, he abandoned his intention to marry the young girl.

In addition to enthusiasm, there were also attacks. The artist was reproached for petty themes, attacked because he used a daring, unprecedented technique, depicting ordinary heroes from everyday life, and even in full height. This was allowed only in relation to ancient heroes.

And N. Dmitriev wrote in the “Modern Chronicle”: “Mr. Pukirev poses the question of unequal marriage quite differently from how it stands in real life. The most terrible and tragic thing in an unequal marriage is not just the inequality of years, but the difference in beliefs, upbringing and, perhaps, condition. The difference in years in an unequal marriage, where the young, pure creation... given over to a decrepit, outdated old man, does not contain anything tragic.”

Motive

The motif of “unequal marriage” came to fine art from life, from history. IN mid-19th century century, the issue of the powerless position of a woman, a girl without a dowry, married off against her will, became painful for Russia. A significant number of marriages at that time were built on the basis of profit and material interest.

Many outstanding artists The words were captured by the topic of Unequal Marriage. A.S. Pushkin touched on it in the story “Dubrovsky”. The tragedy of the Russian woman is reflected with enormous force in a number of works by the great interpreter of folk life A.N. Ostrovsky - “Poor Bride”, “Dowry”, “Thunderstorm”. The most profound social understanding of the topic was found in the works of N.A. Nekrasov. This is especially well expressed in the poems “Wedding”, “To the Fortune-Telling Bride”.

In 1854, A. N. Ostrovsky’s play “Poverty is not a vice” was staged on the stage of the Maly Theater, and in February 1861, a Decree of the Holy Synod was issued condemning marriages with a large age difference. And so, in 1863, a painting of “unequal marriage” and a hunched priest asking the bride from under his brows appeared at the exhibition... In the painting, the priest is depicted as a person who does not condemn the union of two completely different and unequal people, but as a “man bought” by the old and an influential groom, and his ignoble image is especially emphasized by the artist...

Is it autobiographical?

N.A. Mudrogel, the oldest employee of the Tretyakov Gallery, hired by Tretyakov himself, recalled:

“In Pukirev’s painting “Unequal Marriage,” the artist depicted himself as the best man behind the bride... And in general, the whole picture, as I know, is an echo of the artist’s personal drama: the bride in the picture was supposed to become his wife and did not, a rich and noble old man ruined her life".

His friend S.I. Gribkov also spoke about this tragedy of Pukirev. In the book “Moscow and Muscovites” Gilyarovsky wrote:

“S.I. Gribkov always spoke with delight about V.V. Pukirev: “After all, this is Dubrovsky, Pushkin’s Dubrovsky!” Only he was not a robber, but his whole life was like Dubrovsky’s - he was handsome, and powerful, and talented, and his fate was the same! Comrade and friend V.V. Pukirev from a young age knew the history of the painting “Unequal Marriage” and the whole tragedy of the author’s life: this old important official is a living person. The bride next to him is a portrait of V.V. Pukirev’s bride, and the one standing with his arms crossed is V.V. Pukirev himself, as if alive.”

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