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Everything in the past - Vasily Maximovich Maximov. 72 x 93.5 cm
From the paintings of the painter Vasily Maksimovich Maksimov, you can get an idea of the life and life of the Russian village of the 19th century. The heroes of all his works are simple peasants with their own traditions and customs.
But the picture "Everything in the Past" is somewhat out of the general gallery of the peasant genre. It was written in 1889, but the first thoughts about its creation appeared in 1885, when Maximov inherited from his mother-in-law the estate in the village of Lyubsha, Novoladozh district.
By 1888, sketches and sketches began to form in the future picture. For the old lady, a relative posed for him, the wife of Alexei's brother, Varvara. On the canvas are two women who have lived the bulk of their lives and now, on their advanced years, quietly and peacefully rest, basking in the rays of the spring sun.
The fact that it is a spring day, says a bright, flowering, lush bush of lilacs near the wall of a simple log cabin. In the distance, a garden with dry trees and once a luxurious manor house, now old with boarded up windows. He also outlived his, as well as his former mistress.
Now she sits in an armchair, covered with pillows and either dozes, or recalls the past. The woman is dressed, as befits a lady, in a silk dress, in a velvet cape trimmed with fur. On the head is a powdered wig with a bow. Perhaps this was worn during the years of her youth. In a limp hand dropped lorgnet. Near the chair there is a cane and a faithful dog. The whole view of the landowner speaks of traces of the former nobility, power, wealth.
The second character is an ordinary peasant woman, possibly a former servant, shorting her life with a lady. Of course, she also has plain clothes - a chintz skirt, a checkered apron, a simple blouse, a dark scarf on her head, and knitting in her hands.
They just drank tea. On the table, covered with a beautiful tablecloth, for the lady was served an elegant cup with gilding, something from the food in a plate, covered with a white napkin, a sugar bowl. Near the steps there is a large brilliant samovar and a large mug for a partner. Each is occupied with their own thoughts, although the artist portrayed them together, but they do not have common topics for conversation.
The hostess has something to remember and she, leaning back in her chair, indulged in dreams. But the maidservant, as usual, had an essential thought — to cook, ventilate the blankets and clothes, look after the lady, put pillows under her legs, clean the samovar, tie warm socks for the winter.
Perhaps she was a former serf, once owned by this landowner. But after the abolition of serfdom, she did not go anywhere, and remained with her in the handmaidens. Most likely, she has to maintain life and order in this house in which they exist together, due to the circumstances.
The reform to abolish serfdom affected the way of life of all layers of Russia, including the nobility. They began to lose their social and economic positions, go bankrupt, sell land and estates, go to the city or abroad.
It was such a sad period of decline and desolation of one of the many noble estates that the artist depicted for us, as if continuing the theme of "noble nests."
Despite the warm spring day, the whole picture blows in the fall, nostalgia for the years gone by forever. And all these attributes in the form of china and expensive clothes are the remnants of the former luxury of a once chic estate.
For the painter Maximov, perhaps this is the most striking work in the emotional sense. It is felt to the smallest detail, a certain stage in the life of not only a specific character, but also of a whole temporal era of the middle and end of the 19th century is very realistically conveyed.
An interesting fact from the artist’s work - it is known that Maximov made 42 reproductions from the painting “Everything in the Past”.