Peter I interrogates Tsarevich Alexei Petrovich in Peterhof Nikolay Ge (1831-1894)
Nikolay Ge – Peter I interrogates Tsarevich Alexei Petrovich in Peterhof
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Painter: Nikolay Ge
Location: The State Tretyakov Gallery, Moscow (Государственная Третьяковская галерея).
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COMMENTS: 3 Ответы
ПЕТРОВО ВРЕМЯ
У, сотрясут Россию
Петровские дела!
Её углы глухие,
Где старины смола.
О, лихостью Петровой
Смят византийский мир.
Царь лютый, царь суровый
С бояр посгонит жир.
Гулянье – аж до смерти!
И смерти лих напор.
И дела нет до тверди.
От веры до сих пор
Что толку? Знай работай,
В Голландии учись.
И становись Европой –
Вот это будет жисть!
Так хорошо ли было –
Петровский шум и гам?
Строительная сила
По разным берегам?
Иль Византийским ладом
Пришли бы мы к тому,
Чтоб Русь предстала садом?
Неясно никому…
Но буркалы Петровы
Из глубей временных
На нас глядят, суровы, -
Сегодняшних, живых.
What a complex and multifaceted our Russian history is! How many events, both tragic and heroic, grand and simple! So much pain and joy, humility and exuberance, betrayal and devotion! So much could be described, depicted, voiced... Which is exactly what the great Russian composers, writers, and artists did. Artists, in particular, often turned their attention to Russian history and tried to depict everything as accurately and sincerely as possible.
How many complaints and accusations have been leveled against Peter the Great for a long time now. And this is heard alongside praises and odes to his glorious path. The artist Nikolai Ge chose a rather unusual and controversial theme for his painting: Alexei and Peter, son and father. At that time, it was quite common and even bold to say that the emperor was simply the king-son murderer. He ordered the execution of his only heir solely because he did not follow in his footsteps. As if everyone has forgotten that this was a direct betrayal by the Tsarevich, who intended to lead an army against his own father.
But the matter is not entirely about the confrontation between two individuals, although this plays a significant role here. The artist, through conjecture, created a remarkable masterpiece. Why conjecture? Because no one knows if such a meeting actually took place, or if they spoke to each other at all? And if they did speak, what did they say? Was the father trying to persuade his son, did he want to forgive him? Even if he did, he could not. He could not because then it would not have been an act of a Tsar, but an act of a father, not an Emperor. But Peter was expected to perform an imperial act – Kill the traitor! Interestingly, you will not find the Emperors signature in the documents; this fate (his execution) of the Tsarevich was approved by the Senate.
But what is depicted in the painting? It is an attempt to represent this conversation. An attempt to understand, even if it happened, what close people once could have said to each other... In fact, nothing good comes out of it, and this is evident from the moment of the conversation that the artist captured. Look: Peter looks at his son with contempt, but also with a certain pity, while Alexei seems more embarrassed than ashamed. He is not broken; he still considers his father a heretic and an antichrist, as his entourage had done for a long time. And it is this confrontation that Ge has captured on the canvas, and you can almost feel the tension in this pause of conversation, the clash between two personalities and two directions – one was leading the country forward, while the other wanted to preserve the old ways.
Боль души отца, за не разумного сына.
You cannot comment Why?
The other figure occupies a chair positioned slightly askew, conveying a sense of discomfort or perhaps resignation. He wears a darker garment as well, but its cut and fit suggest a higher social standing than that of the man who stands. The slumped posture and downward gaze contribute to an impression of weariness or internal struggle.
The setting itself is significant. A large table draped with elaborate fabric dominates the central space, upon which documents are laid out – likely evidence or records pertaining to the interrogation. Behind them, a fireplace provides a source of light that casts shadows across the room, adding to the atmosphere of solemnity and secrecy. The checkered floor tiles create a geometric pattern that draws the eye toward the figures, while also contributing to a sense of formality and confinement.
Several details hint at underlying subtexts. The presence of portraits hanging on the wall behind the men suggests a lineage or historical context that informs their present situation. These images seem to observe the scene with silent judgment. The overall palette is muted, dominated by dark tones which amplify the gravity of the moment. The lighting focuses attention on the faces and hands of the two figures, highlighting expressions of anxiety and apprehension.
The arrangement suggests a power dynamic at play; one man holds authority while the other is subjected to scrutiny. It’s not merely an exchange of words but a confrontation laden with political and familial implications. The scene evokes themes of succession, loyalty, and the burden of responsibility within a ruling dynasty.