“The Father and His Museum” - the very name of this prose work indicates the object of the writer's research - the life and work of Ivan Vladimirovich Tsvetaev.

If the essay “Mother and Music”, dedicated to Maria Alexandrovna, was of an essayistic nature, had the main task - through the study, comprehension of the spiritual principles of the mother, to know herself; then “The Father and His Museum” is prose of a different tone, and consequently, the artistic task is qualitatively different.

“Father and His Museum” is more of a journalism, so it is quite clear that this work is characterized by a desire for objectivity (in contrast to the essay “Mother and Music”, where features of Tsvetaev's subjectivism are clearly traced).

Thus, making a conclusion about the genre of the work “The Father and His Museum”, it can be argued that this creation of Marina Tsvetaeva is designed in the spirit of an essay, a sketch in a more pronounced journalistic sense of this designation.

The cycle “Father and His Museum” consists of six short stories (the sixth is “The Queen's Visit”). Created in 1936 in French; Tsvetaeva failed to print it.

“Charlottenburg”, “Mundir”, “Laurel wreath” were first published in the magazine “Star” (1970, No. 10) in the translation of the poet’s daughter A.S. Efron.

Marina Tsvetaeva's father, Ivan Vladimirovich Tsvetaev (1874-1913), son of a village priest, professor at Moscow University, founder of the current Museum fine arts, which was opened in 1912 and was called the Museum of Alexander III.

The first sketch is “Charlottenburg”, that was the name of the district of Berlin, where the plaster foundry was located, where Ivan Vladimirovich ordered casts for the future museum.

“I'm about to be sixteen, Asya is fourteen. Our mother died three years ago…” Tsvetaeva M.I. Prose / Comp., author. foreword and comment. A.A. Saakyants. - M.: Sovremennik, 1989. - p. 181. - it is with these words that Marina Tsvetaeva opens the story.

The daughters go with their father to the small town of Charlottenburg; where a whole world of ancient Greek myths and legends will open up for them, with which Marina's poetic life will later be inextricably linked.

It is worth noting the technique characteristic of Tsvetaeva’s prose (which Marina Ivanovna also resorted to in the essay “Mother and Music”), when there is no image of the hero’s “appearance” in the work, we will never meet a description of Ivan Vladimirovich’s appearance; but his image is created by displaying his behavior, habits, in a word, the portrait is created by displaying internal impulses and motives, external movements.

“My father is passionate, or rather, desperate, or rather, a natural walker, because he walks - as he breathes, not realizing the action itself. To stop walking for him is the same as for another - to stop breathing” Tsvetaeva M.I. Prose / Comp., author. foreword and comment. A.A. Saakyants. - M.: Sovremennik, 1989. - p. 181..

In these lines one can feel a clear allegory, “to walk” for Ivan Vladimirovich Tsvetaev means to work, work, do what he loves, he was fanatically devoted to science and art; without it, he would “stop breathing.”

With each chapter of the work, the image of the protagonist develops like a mosaic of characteristic qualities that the author reveals only to him, giving a subtle psychological picture of the inner world of Ivan Vladimirovich. Exactly inner world father is interesting for Tsvetaeva as a researcher.

The second short story, “The Lawn Mower”, depicts a comical situation that reveals another facet of Ivan Tsvetaev’s personality: “the father looked exactly what he was: the purest of people - that’s why there could be no doubts ... Only thanks to such tricks and enter the Kingdom of Heaven” ibid. - With. 186..

“Mundir” is a bright, psychologically accurate short story. Here Marina Ivanovna, with her characteristic consistency and attention to every detail, speaks of the stinginess of her father, but this quality is recoded here, accompanied by a different, unexpected assessment. The stinginess of Ivan Vladimirovich is as close as possible to the positive pole, this is spiritual stinginess, which takes care of values: “... the stinginess of everyone who lives a spiritual life and who simply does not need anything ...” Tsvetaeva M.I. Prose / Comp., author. foreword and comment. A.A. Saakyants. - M.: Sovremennik, 1989. - p. 187..

And the main blow to avarice was inflicted by the uniform; Ivan Vladimirovich agreed to the expenses associated with its tailoring “except for the sake of the museum”.

"Laurel Wreath" depicts the new Professor Tsvetaev. This is the opening time of the museum; passions of admiration and an embarrassed feeling of gratitude to everyone who was directly or indirectly involved in the realization of his cherished dream rage in Ivan Vladimirovich. Tsvetaev undoubtedly deserved to be crowned with the "Roman laurel" for the feat of his life.

The essay ends with a kind of requiem. “My father died on August 30, 1913 and three months after the opening of the museum. We put a laurel wreath in his coffin” in the same place. - With. 192..

Thanks to the “Father and His Museum” cycle, a full-fledged, artistically complete image of Ivan Vladimirovich Tsvetaev is created as a personality, a great and disinterested ascetic of science and culture. But it is worth mentioning Professor Ivan Tsvetaev not only as a valuable historical figure, but also as the father of the poet. If in the essay “Mother and Music” Marina says that she absorbed her mother from her inner content, her impulses and aspirations; then the father became a clear example of asceticism, devotion to work, the standard of embodiment in a person of service to science and culture.

The invaluable difference of the essay "Father and His Museum" is the maximum possible objectivity and truth of the reflected facts.

Ivan Vladimirovich Tsvetaev revealed case in point a man of art for his daughter, in her way of life became in her understanding a true Spartan, the purpose of whose entire existence was the creation of a museum.

An ardent desire to save from oblivion, not to let the image of her father go into oblivion, and hence the whole world in which she grew up and which “sculpted” her, prompted Tsvetaeva to create this autobiographical essay.

Tsvetaeva poetry Pushkin family

art historian (from the 1880s),

Founder of the current Pushkin Museum im. Pushkin, its director and curator (from the 1890s)

Ivan Vladimirovich Tsvetaev (1847−1913) - art critic, historian, archaeologist, philologist, professor and, finally, the creator and first director of the Museum fine arts named after Emperor Alexander III at the Moscow Imperial University (now - the Pushkin State Museum of Fine Arts).

One of the four sons of a village priest (his mother died early), Ivan Vladimirovich was also preparing for spiritual service. However, in his youth, he was thoroughly carried away by the study of Latin and ancient Greek, and this somewhat led him away from theology - to magnificent, shining antiquity. Consequently, to the classical department of St. Petersburg University.

Monday, September 30, 2013 09:47 ()

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Museum of Fine Arts. A. S. Pushkin.

The founder of the famous museum, which is celebrating its hundredth birthday these days and is rightfully considered one of the largest in our country and in the world, is art historian, teacher Ivan Vladimirovich Tsvetaev (1847-1913). The son of a simple village priest who achieved everything in his life thanks to his own natural talents, hard work and perseverance, he always dreamed of creating a museum of fine arts in Moscow that would become a true treasure trove of ancient, medieval and modern art.

When the professor began to realize his dream, he had neither collections nor money. The museum was built mainly with private funds.

Marina Tsvetaeva wrote about this period of her father’s life in the following way: “He sits with some Moscow merchant’s wife, sips tea and entices: “Thus, mother, there will be joy for everyone, and benefit ...”.

I. V. Tsvetaev - founder and first director of the museum

However, it should be noted that the state also made its contribution. Sovereign Emperor Nicholas II ordered to allocate 200 thousand rubles from the treasury for the construction of the museum. It was decided that the museum would be called the Museum of Fine Arts named after Emperor Alexander III.

Ivan Vladimirovich began collecting money long before the foundation of the museum. Not only representatives of the merchant class, but also the publisher K. T. Soldatenkov, P. M. Tretyakov, the famous wealthy philanthropist P. I. Kharitenko, the princes Yusupovs and many others donated for the construction of the museum. Chief, to put it modern language, the sponsor of the creation of the museum was Yu. S. Nechaev-Maltsov. The names of donors were assigned to the halls they financed.

On August 17, 1898, a solemn laying of the museum took place. It was decided to build the building in the classical, antique style, designed by the architect R. I. Klein. White marble was used for facing the facade, the plinth was lined with Serdobol granite, marble was brought from southern Hungary for facing columns, the main staircase, and balustrades.

Main staircase

The famous "Italian courtyard" of the museum

By the end of 1902, the building was erected, but finishing work continued for another 10 years. Unfortunately, the building burned several times, the exhibits, which Ivan Vladimirovich collected with such difficulty, perished, and they had to be restored, which caused the professor deep spiritual sorrow.

Museum in 1912 - opening day

Finally, the solemn and long-awaited day of the opening of the museum came. This happened on May 31 (according to the old style), 1912. Members of the imperial family honored the ceremony with the highest presence: Emperor Nikolai Alexandrovich, Dowager Empress Maria Feodorovna, Grand Duchesses - Olga, Tatyana, Maria and Anastasia.

It is noteworthy that the opening of the museum was also timed to coincide with the centenary of the victory in Patriotic war over Napoleon's army.

Imperial Family at the opening ceremony

In 1932, the museum was renamed and received the name that it bears to this day.

For more than half a century, Irina Alexandrovna Antonova has been its permanent director.

Now this wonderful museum has a unique collection of casts from famous works of architecture from antiquity to the Renaissance. There is also a wonderful collection of authentic Egyptian antiquities, antique vases, beautiful works Italian painting of the 13th - 14th centuries and many other masterpieces of world art and culture.

The pearls of the pictorial collection

No matter how you recall the wonderful statement of I. E. Repin, who wrote: “This is honor and glory to Tsvetaev! How assembled, how assembled! And all this is so placed, so presented ... ".

And Marina Tsvetaeva (back in 1936!) proudly wrote about the Pushkin Museum of Fine Arts, that this is a museum, “having to stand while Moscow stands ...”.

A visit to this beautiful museum left a very deep and pleasant impression in my soul!

Tuesday, January 04, 2011 18:15 ()

Born into the family of a poor priest, Ivan Vladimirovich Tsvetaev received his primary education at the Shuya Theological School, consisting of three departments with a study period of 2 years each, which he continued at the Vladimir Seminary, where he also studied ...

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AT long time ago, more than a century ago, when the Russian State Library did not yet bear this name, and did not even bear the name of Lenin, assigned to it in Soviet times, but was the Rumyantsev Library at the Rumyantsev Museum, one of the largest cultural institutions in Moscow, headed this museum and, accordingly, the library under him was Ivan Vladimirovich Tsvetaev, known to posterity as the founder of the Museum of Fine Arts and the father of the poetess Marina Tsvetaeva. Professor of Moscow University and Corresponding Member of the St. Petersburg Academy of Sciences I.V. Tsvetaev served as director of the Rumyantsev Museum and Library in 1900-1910, just at the time when he was enthusiastically engaged in the construction and formation of the collections of his favorite brainchild - the Museum of Fine Arts. And the affairs in the Rumyantsev library were somewhat started ...

Ivan Vladimirovich Tsvetaev

Tsvetaev did not require due vigilance of the employees in the institution entrusted to him (he was generally a great liberal), and library readers, taking advantage of this, without a twinge of conscience began to drag something from the funds. Either an expensive edition is slammed, or valuable engravings are cut out of the book ... Velimir Khlebnikov very figuratively told how his acquaintance, the poet Petrovsky, was caught while unearthing books, and he had to flee from the police. Running out of the library, the poet-thief rushed down the Volkhonka to the Cathedral of Christ the Savior and "thrice ran around the gilded, with clouds of stone spirits, the temple of the Savior, jumping in huge leaps up the steps, pursued by the policeman for having torn out rare prints of painting from the Rumyantsev Museum".


The building of the Rumyantsev Museum and Library (Pashkov House) at the beginning of the 20th century

Another symbolist poet Ellis (Lev Lvovich Kobylinsky) was caught in the reading room for damaging library books. He was the son of the founder and head of one of the best Moscow gymnasiums, Lev Polivanov, a famous teacher who brought up many outstanding students (Bryusov, Voloshin, Andrei Bely, chess player Alekhin and others). From his own son, he also tried to make a man of high culture and an outstanding personality, and succeeded in something, but not in everything. The fact is that Ellis was the illegitimate son of his father, and this greatly complicated his life, spoiled his character and ultimately turned him away from his father's principles. Ellis's friend Andrey Bely said that he "didn't put a penny on dad."
Lev Ivanovich Polivanov died in 1899, but his name and pedagogical fame at the beginning of the 20th century still thundered throughout Moscow. In a sense, the name of the father cast its reflection on Ellis, although he, as an illegitimate child, was recorded under a different surname.

Lev Ellis

Moscow in those days was not as huge as it is now. According to the 1907 census, 1,338,686 people lived in it (together with the suburbs). This is without troops, but all the troops of the Moscow garrison added only 28,000. It is not surprising that representatives of the Moscow intelligentsia, especially those who lived in the same segment of the city, knew each other well. Ellis was well acquainted with the daughters of Professor Tsvetaev Marina and Anastasia and even had two young girls certain influence. A fashionable symbolist poet, a cynic, an admirer of Nietzsche, the theory of "aristocratic individualism" and a lover of "subverting the foundations", he was for them the representative of a bohemian, adult and alluring life.

Ellis's poems delighted the sisters and to some extent became the catalyst for Marina's own creativity. Ellis was dedicated to the youthful poem by Marina Tsvetaeva "The Enchanter".
He was our angel, he was our demon
Our tutor is our sorcerer,
Our prince and knight. - He was to all of us
Among people!
The young symbolist came daily to the Tsvetaevs' house, although the father, according to Marina's memoirs, "was horrified by the influence of this" decadent "on his daughters."
And when it turned out that it was Lev Lvovich Kobylisky, that is, that same notorious Ellis, who had irritated Ivan Vladimirovich for so long, made the library books unusable by making clippings out of them, the angry father rushed at his enemy like a tiger.
Ellis was seriously threatened by the court, moreover, Tsvetaev raised a fuss in the press. Ellis was declared a thief, a man devoid of any culture, moral principles, decency and education ... Many turned away from him, the name of Ellis-Kobylinsky was compromised. Ivan Vladimirovich Tsvetaev hoped that his daughters would now begin to despise Ellis and refuse to be friends with him. But the reaction was the opposite. The scandal only pushed the girls away from their father. Marina then wrote about her friend:

TO THE FORMER enchanter

Your heart is torn by longing, doubt about the best sowing.
- “Throw a stone, do not spare! I'm waiting, more painful sting!
No, I hate the arrogance of the Pharisee,
I love sinners, and I only feel sorry for you.

Walls of dark words growing in darkness
No, we can't be separated! Find the keys to the locks
And boldly give mysterious signs
We are to each other when everything slumbers in the night.

Free and alone, far from the narrow framework,
10 You will return to us again with a rich boat,
And a slender castle will arise from the air lines,
And the one who dared to be a judge of the poet will gasp!

“It’s great to forgive mistakes, yes, but this one -
It is impossible: culture, honor, decency ... Oh no.
15 Let everyone say it. I am not a poet's judge
And you can forgive everything for a crying sonnet!

Ellis also had other friends (including friends of his late father) who tried to hush up the scandal, proving that he, as a poet, was just an absent-minded person, and he was going to make clippings from his own copy of the book, brought with him (??) to the library, and simply confused the government edition with the personal one... And Andrei Bely even began to spread rumors that Mr. Tsvetaev and Ellis were rivals in love for the same lady, and it was Ellis's success in amorous affairs that became the hidden reason for the scandal. .. However, there was no shortage of gossip and rumors in general. As a result, things turned badly for Tsvetaev himself - he, as a man who got involved in an incomprehensible scandal with a smell, lost his high post in the Rumyantsev Museum. (Either he stole, or someone stole from him ... But there was something like that!). He could not calm down until his death, which followed three years later. He called the Rumyantsev Museum: "the museum from which I was expelled." However, the Museum of Fine Arts, built by his diligence, brought him many problems and troubles that undermined his health.

Museum of Fine Arts. Alexander III (Pushkin State Museum of Fine Arts)

And Ellis in 1910 tried to propose to Marina. But the young poetess already had other plans for her own future...

Throughout the history of Russia, one can name many outstanding personalities who have made a huge contribution to the development of culture and science. One of them is Tsvetaev Ivan Vladimirovich. His biography tells that he was a great Russian historian, philosopher, art critic and archaeologist, recognized not only in his homeland, but throughout Europe. It was he who created the Museum of Fine Arts, located at the Imperial University of Moscow.

Childhood and youth

Ivan Vladimirovich Tsvetaev grew up in a very poor and modest family of a village priest. The story of his life begins with the village of Drozdovo, where he was born in the spring of 1847. In addition to him, his parents had six more children, but three of them died in infancy.

When the boy was six years old, his mother died, and together with his father and brothers they moved to the village of Novo-Talitsy, located near the city of Ivanovo. The priest instilled in his children with young years love for God, so Ivan went to receive his primary education in a religious school located in the city of Shuya, where he studied for six years. After that, he moved to the Vladimir Seminary, where he mastered the Hebrew, Latin and Ancient Greek languages ​​to perfection.

Ivan Vladimirovich Tsvetaev, having received a secondary education, decided to choose the profession of a doctor, so he passed the exams at a medical university, but was forced to leave it due to his health. After that, he made every effort and was enrolled in the history department at a university located in St. Petersburg. The young man successfully graduated from an educational institution and left it as a candidate of science.

Carier start

Tsvetaev Ivan Vladimirovich, having received his diploma, immediately took up teaching. The first place of his work was the St. Petersburg gymnasium, where he taught children the Greek language. A year later, the young man was invited to the post of associate professor at the Imperial Institute, where he was able to defend his dissertation and receive a master's degree. After that, he decides to go to Germany and then to Italy to improve his knowledge of ancient languages. Upon his return from the trip, he was enrolled as an assistant professor at Kyiv University.

After a certain period of time, the professor was invited to Moscow, since a vacant position appeared as a teacher of Latin writing at the Department of Ancient Languages. In addition to his main work, the outstanding scientist was also writing various articles on the topic of archeology and the history of the Romans.

How was the exposition created?

In the same university, he also held the position of caretaker of the office, which kept various objects of antiquity and fine art. At that moment there were only fifteen plaster casts and a small collection of books. Periodically, the collection was replenished with private donations and was located in the old rooms of the inactive hospital building. Just from this place, the Russian scientist and historian decided to make a real museum. Then, for this exposition, Ivan Vladimirovich Tsvetaev built a separate building at the expense of common funds.

Today, this well-known cultural institution, located in the capital of Russia, stores many exhibits presented in the form of copies of first-class monuments, and students and other visitors learn from their examples how to properly perceive sculpture. Currently, this collection is also maintained by private entrepreneurs.

First marriage

Ivan Vladimirovich Tsvetaev was in no hurry to marry early. He had a family when he was already thirty-four years old. He met his future wife in Moscow when she was twenty years old. Her name was Varvara, she was a very attractive woman. Despite the fact that the girl was the daughter of a famous historian, she chose singing as her profession.

The newly-made spouses settled next to the Patriarch's Ponds in a house that was Varvara's dowry. Their marriage lasted ten happy years, the couple had two beautiful children. In 1883 they were born and in 1890 - Andrey Tsvetaev (son of Ivan Vladimirovich Tsvetaev). A few months after the birth of their last child, the wife died at the age of thirty-two from thrombophlebitis.

Second wife

Left alone with two children in his arms, Ivan decided to marry again and got married a year after the death of his first wife. His new sweetheart became a girl who bore the surname Maine. The woman lost her mother when she was in infancy, so she was raised by one father, who in every way was a remarkable personality. Ivan Vladimirovich Tsvetaev loved his father-in-law and visited him daily to share his thoughts about the museum.

Maria, like his first wife, was an artistic person and knew several languages. But this did not prevent her from being the closest associate and constant adviser of her husband in all his affairs and undertakings. In this marriage, Ivan had two daughters - Marina and Anastasia. Both of them were creative personalities, so they became famous writers.

In 1903, Maria was given a terrible diagnosis - tuberculosis, from which she died three years later, leaving her husband with two minor daughters.

Bright memory

Ivan Vladimirovich Tsvetaev outlived his second wife for seven years. Photos of his house, where he lived with his family, show that there is now a museum dedicated to the life of this creative family.

In addition, the memory of the great scientist and philosopher is immortalized on the facade of the museum building he built in Moscow. Commemorative busts were opened in his hometown in honor of Ivan and his daughter Marina, and astrologers named an asteroid after him in 1983.

I. V. Tsvetaev was undoubtedly a great and brilliant person. He spent a lot of his strength and health on the creation of his brainchild, so his museum has been introducing visitors to the world of fine art for more than a century.

Notable students: Known as:

creator and first director of the Pushkin Museum of Fine Arts

Awards and prizes:

Ivan Vladimirovich Tsvetaev(May 4, Drozdovo, Shuisky district, Vladimir province - August 30 [September 12], Moscow) - Russian historian, archaeologist, philologist and art critic, corresponding member of the St. Petersburg Academy of Sciences (since 1904 in the category of classical philology and archeology ), Professor at Moscow University (since 1877), Privy Councilor, creator and first director of the Museum of Fine Arts named after Emperor Alexander III at the Moscow Imperial University (now the Pushkin State Museum of Fine Arts).

Biography

Ivan Tsvetaev was born into the family of a village priest Vladimir Vasilievich Tsvetaev (1818-1884) and his wife Ekaterina Vasilievna (1824-1859). The mother died early, the father raised four sons alone, sending them later along the spiritual line. Ivan studied for six years at the Shuya Theological School, then another six at the Vladimir Theological Seminary. After that, he entered the Medical and Surgical Academy, but left it for health reasons and moved to St. Petersburg University to the classical department of the Faculty of History and Philology. He graduated from the university in 1870 with a Ph.D. From 1871 he taught Greek at the 3rd St. Petersburg Gymnasium, and in 1872 he became an assistant professor at the Imperial University of Warsaw, where he defended his master's thesis - “Cornelii Taciti Germania. I. The experience of critical review of the text” (Warsaw, 1873). In 1874 he went on a business trip to Italy to study ancient Italian languages ​​and writing.

Memory

• A memorial plaque in his honor was installed on the facade of the Pushkin Museum of Fine Arts in Moscow.
• In Tarusa ( Kaluga region), in the house where the Tsvetaev family once lived, a museum has been created. In the city park of Tarusa, a monument was erected to the daughter of an art historian, Marina Tsvetaeva. In 2010, a memorial bust to Ivan Vladimirovich himself was also opened in the city.
• In honor of I.V. Tsvetaev named the asteroid (8332) Ivantsvetaev, discovered by L.G. Karachkina and L.V. Zhuravleva at the Crimean Astrophysical Observatory on October 14, 1982

Compositions

The main works of Ivan Tsvetaev are devoted to ancient philology, the study of Italian languages, as well as art, cultural and public life ancient peoples.

• Collection of Osian inscriptions with an outline of phonetics, morphology and a glossary, K., 1877;
• Educational atlas of ancient sculpture, c. 1-3, M., 1890-1894;
• From the life of the higher schools of the Roman Empire. M., 1902;
• Inscriptiones Italiae mediae dialecticae…, v. , Lipsiae, 1884-85;
• Inscriptiones Italiae inferioris dialecticae, Mosquae, 1886;
• "Committee for the Arrangement of the Museum of Ancient Art in Moscow" (M., 1893), "The Art Museum of Moscow University" ("Moskovskie Vedomosti" and "Russian Vedomosti", 1894);
• "Draft regulation on the committee for the device at the Moscow University of the Museum of Fine Arts" (Moscow, 1896);
• "Note on the Museum of Fine Arts" (M., 1898);
• "Expedition of N. S. Nechaev-Maltsev to the Urals" (M., 1900).

A family

• Marina Tsvetaeva (-) - Russian Poet, prose writer, translator, one of the most original poets of the Silver Age.
• Anastasia Tsvetaeva (-) - Russian writer.

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Notes

Sources

• Demskaya A. A., Smirnova L. M. I. V. Tsvetaev creates a museum. - M .: Galart, 1995. - 448 p. - 7,500 copies. - ISBN 5-269-00718-5.
• at Rodovod. Tree of ancestors and descendants
• Korykhalova T. P. Works of I. V. Tsvetaev on Italian epigraphy // Bulletin of ancient history. - 1973. - No 2.
• Tsvetaeva M. I. Memories
• Kagan Yu. M. IV Tsvetaev: Life. Activity. Personality: (Scientist, founder of the Museum of Fine Arts in Moscow) / Ed. ed. dr ist. sciences I. N. Osinovsky; Reviewers: S. S. Averintsev, I. A. Antonova, E. V. Zavadskaya, V. A. Kulakov, A. F. Losev; USSR Academy of Sciences. - M .: Science, 1987. - 192, p. - (From the history of world culture: Scientific biographies). - 50,000 copies.(reg.)
• Koval L. M. Difficult decade: Ivan Vladimirovich Tsvetaev // For good education: From the history of the Russian State Library: (On the 150th anniversary of the founding of the Moscow Public and Rumyantsev Museums) / L. M. Koval; Artistic design: V. V. Pokatov; Russian State Library. - M .: Pashkov house, 2012. - S. 241-358. - 500 s. - 300 copies. - ISBN 978-5-7510-0546-7.(reg.)
• (German). - “Arrange a small Albertinum in Moscow”. - Correspondence of Ivan Tsvetaev and Georg Trey (1881-1913). - ed. M.Rota and I.Antonova
• Smirnov A. E. Ivan Tsvetaev. Life story. - St. Petersburg. : Vita Nova, 2013. - 386 p. - (Biographies). - 1000 copies. - ISBN ISBN 978-5-93898-384-7.

• Sosnina E. B. 1913: Last year life of I. V. Tsvetaeva. - Ivanovo: O. Episheva Publishing House, 2013. - 64 p. - 1000 copies. - ISBN ISBN 978-5-904004-43-2.

Links

• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• - video

An excerpt characterizing Tsvetaev, Ivan Vladimirovich

“Smolensk is being surrendered,” he wrote, “the Bald Mountains will be occupied by the enemy in a week. Leave now for Moscow. Answer me as soon as you leave, sending a courier to Usvyazh.
Having written and handed over the sheet to Alpatych, he verbally told him how to arrange the departure of the prince, princess and son with the teacher and how and where to answer him immediately. He had not yet had time to complete these orders, when the chief of staff on horseback, accompanied by his retinue, galloped up to him.
- Are you a colonel? shouted the chief of staff, with a German accent, in a voice familiar to Prince Andrei. - Houses are lit in your presence, and you are standing? What does this mean? You will answer, - shouted Berg, who was now assistant chief of staff of the left flank of the infantry troops of the first army, - the place is very pleasant and in sight, as Berg said.
Prince Andrei looked at him and, without answering, continued, turning to Alpatych:
“So tell me that I’m waiting for an answer by the tenth, and if I don’t get the news on the tenth that everyone has left, I myself will have to drop everything and go to the Bald Mountains.
“I, prince, only say so,” Berg said, recognizing Prince Andrei, “that I must obey orders, because I always fulfill them exactly ... Please excuse me,” Berg justified himself in some way.
Something crackled in the fire. The fire subsided for a moment; black puffs of smoke poured from under the roof. Something else crackled terribly in the fire, and something huge collapsed.
– Urruru! - Echoing the collapsed ceiling of the barn, from which there was a smell of cakes from burnt bread, the crowd roared. The flame flared up and illuminated the animatedly joyful and exhausted faces of the people standing around the fire.
A man in a frieze overcoat, raising his hand, shouted:
- Important! go fight! Guys, it's important!
“This is the master himself,” voices said.
“So, so,” said Prince Andrei, turning to Alpatych, “tell everything as I told you.” And, without answering a word to Berg, who fell silent beside him, he touched the horse and rode into the alley.

The troops continued to retreat from Smolensk. The enemy was following them. On August 10, the regiment commanded by Prince Andrei passed along the high road, past the avenue leading to the Bald Mountains. The heat and drought lasted for more than three weeks. Curly clouds moved across the sky every day, occasionally obscuring the sun; but by evening it was clearing again, and the sun was setting in a brownish-red mist. Only heavy dew at night refreshed the earth. The bread remaining on the root burned and spilled out. The swamps have dried up. The cattle roared from hunger, not finding food in the meadows burned by the sun. Only at night and in the forests the dew still held, it was cool. But along the road, along the high road along which the troops marched, even at night, even through the forests, there was no such coolness. The dew was not noticeable on the sandy dust of the road, which was pushed up more than a quarter of an arshin. As soon as it dawned, the movement began. Convoys, artillery silently walked along the hub, and the infantry up to their ankles in soft, stuffy, hot dust that had not cooled down during the night. One part of this sandy dust was kneaded by feet and wheels, the other rose and stood like a cloud over the army, sticking to the eyes, hair, ears, nostrils and, most importantly, the lungs of people and animals moving along this road. The higher the sun rose, the higher the cloud of dust rose, and through this thin, hot dust one could look at the sun, not covered by clouds, with a simple eye. The sun was a big crimson ball. There was no wind, and people were suffocating in this still atmosphere. People walked with handkerchiefs around their noses and mouths. Coming to the village, everything rushed to the wells. They fought for water and drank it to the dirt.
Prince Andrei commanded the regiment, and the organization of the regiment, the well-being of its people, the need to receive and give orders occupied him. The fire of Smolensk and its abandonment were an epoch for Prince Andrei. A new feeling of bitterness against the enemy made him forget his grief. He was completely devoted to the affairs of his regiment, he was caring for his people and officers and affectionate with them. In the regiment they called him our prince, they were proud of him and loved him. But he was kind and meek only with his regimental officers, with Timokhin, etc., with completely new people and in a foreign environment, with people who could not know and understand his past; but as soon as he ran into one of his former staff members, he immediately bristled again; became malicious, mocking and contemptuous. Everything that connected his memory with the past repulsed him, and therefore he tried in the relations of this former world only not to be unjust and to fulfill his duty.
True, everything was presented in a dark, gloomy light to Prince Andrei - especially after they left Smolensk (which, according to his concepts, could and should have been defended) on August 6, and after his father, who was sick, had to flee to Moscow and throw away the Bald Mountains, so beloved, built up and inhabited by him, for plunder; but, despite the fact, thanks to the regiment, Prince Andrei could think about another subject, completely independent of general questions - about his regiment. On August 10, the column, in which his regiment was, caught up with the Bald Mountains. Prince Andrey two days ago received the news that his father, son and sister had left for Moscow. Although Prince Andrei had nothing to do in the Bald Mountains, he, with his characteristic desire to exasperate his grief, decided that he should call in the Bald Mountains.
He ordered his horse to be saddled and, from the crossing, rode on horseback to his father's village, in which he was born and spent his childhood. Passing by a pond, where dozens of women always talked, beat with rollers and rinsed their linen, Prince Andrei noticed that there was no one on the pond, and a torn-off raft, half flooded with water, floated sideways in the middle of the pond. Prince Andrei drove up to the gatehouse. There was no one at the stone entrance gate, and the door was unlocked. The garden paths were already overgrown, and the calves and horses were walking through the English park. Prince Andrei drove up to the greenhouse; the windows were broken, and the trees in tubs, some felled, some withered. He called Taras the gardener. Nobody responded. Going around the greenhouse to the exhibition, he saw that the carved board fence was all broken and the plum fruits were plucked with branches. An old peasant (Prince Andrei had seen him at the gate in his childhood) was sitting and weaving bast shoes on a green bench.
He was deaf and did not hear the entrance of Prince Andrei. He was sitting on a bench, on which the old prince liked to sit, and beside him was hung a bast on the knots of a broken and withered magnolia.
Prince Andrei drove up to the house. Several lindens in the old garden were cut down, one piebald horse with a foal walked in front of the house between the roses. The house was boarded up with shutters. One window downstairs was open. The yard boy, seeing Prince Andrei, ran into the house.
Alpatych, having sent his family, remained alone in the Bald Mountains; he sat at home and read the Lives. Upon learning of the arrival of Prince Andrei, he, with glasses on his nose, buttoning up, left the house, hurriedly approached the prince and, without saying anything, wept, kissing Prince Andrei on the knee.
Then he turned away with a heart to his weakness and began to report to him on the state of affairs. Everything valuable and expensive was taken to Bogucharovo. Bread, up to a hundred quarters, was also exported; hay and spring, unusual, as Alpatych said, this year's green harvest was taken and mowed - by the troops. The peasants are ruined, some have also gone to Bogucharovo, a small part remains.
Prince Andrei, without listening to the end, asked when his father and sister left, meaning when they left for Moscow. Alpatych answered, believing that they were asking about leaving for Bogucharovo, that they had left on the seventh, and again spread about the farm's shares, asking for permission.
- Will you order the oats to be released on receipt to the teams? We still have six hundred quarters left,” Alpatych asked.
“What to answer him? - thought Prince Andrei, looking at the old man's bald head shining in the sun and reading in his expression the consciousness that he himself understands the untimeliness of these questions, but asks only in such a way as to drown out his grief.
“Yes, let go,” he said.
“If they deigned to notice the unrest in the garden,” Alpatych said, “then it was impossible to prevent: three regiments passed and spent the night, especially dragoons. I wrote out the rank and rank of commander for filing a petition.
- Well, what are you going to do? Will you stay if the enemy takes? Prince Andrew asked him.
Alpatych, turning his face to Prince Andrei, looked at him; and suddenly raised his hand in a solemn gesture.
“He is my patron, may his will be done!” he said.
A crowd of peasants and servants walked across the meadow, with open heads, approaching Prince Andrei.
- Well, goodbye! - said Prince Andrei, bending over to Alpatych. - Leave yourself, take away what you can, and the people were told to leave for Ryazanskaya or Moscow Region. - Alpatych clung to his leg and sobbed. Prince Andrei carefully pushed him aside and, touching his horse, galloped down the alley.
At the exhibition, just as indifferently as a fly on the face of a dear dead man, the old man sat and tapped on a block of bast shoes, and two girls with plums in their skirts, which they picked from greenhouse trees, fled from there and stumbled upon Prince Andrei. Seeing the young master, the older girl, with a fright expressed on her face, grabbed her smaller companion by the hand and hid behind a birch together with her, not having time to pick up the scattered green plums.
Prince Andrei hastily turned away from them in fright, afraid to let them notice that he had seen them. He felt sorry for this pretty, frightened girl. He was afraid to look at her, but at the same time he had an irresistible desire to do so. A new, gratifying and reassuring feeling came over him when, looking at these girls, he realized the existence of other, completely alien to him and just as legitimate human interests as those that occupied him. These girls, obviously, passionately desired one thing - to carry away and finish eating these green plums and not be caught, and Prince Andrei together with them wished the success of their enterprise. He couldn't help but look at them again. Thinking they were already safe, they jumped out of the ambush and, holding their skirts in thin voices, merrily and quickly ran across the grass of the meadow with their tanned bare legs.
Prince Andrei refreshed himself a little, having left the dusty area of ​​​​the high road along which the troops were moving. But not far beyond the Bald Mountains, he again drove onto the road and caught up with his regiment at a halt, by the dam of a small pond. It was the second hour after noon. The sun, a red ball in the dust, was unbearably hot and burned his back through his black coat. The dust, still the same, stood motionless over the voice of the humming, halted troops. There was no wind. In the passage along the dam, Prince Andrei smelled of the mud and freshness of the pond. He wanted to get into the water, no matter how dirty it was. He looked back at the pond, from which cries and laughter were coming. A small muddy pond with greenery, apparently, rose a quarter by two, flooding the dam, because it was full of human, soldier, naked white bodies floundering in it, with brick-red hands, faces and necks. All this naked, white human meat, with laughter and a boom, floundered in this dirty puddle, like crucian carp stuffed into a watering can. This floundering echoed with merriment, and therefore it was especially sad.