We reveal the secret of Kramskoy's "Stranger"

2024 Author: Seth Attwood | [email protected]. Last modified: 2023-12-16 15:55

- VICE SQUAD!!! LET YOUR YELLOW PASSPORT MADAME BELLA ?!

A lot of literature has been written about Kramskoy's painting "Unknown", which reveals the secret of this masterpiece. The canvas depicts a young woman driving in an open carriage along Nevsky Prospekt near the pavilions of the Anichkov Palace. On the right, behind her, the Alexandrinsky Theater is visible. She is dressed in the latest fashion of the 1880s. She wears a velvet hat with feathers, a coat decorated with fur and ribbons, a muff and thin leather gloves. The look is regal, mysterious and a little sad and even mysterious. In any case, connoisseurs of Ivan Kramskoy's work say so.

However, the old operas from the group of the Commissioner of Qatar, decided to deal with this lady and not rely on the opinions of sublime connoisseurs. We reviewed many portraits of the past and came to a startling conclusion. So, let's start with the clothes: her outfit - on her head a “Francis” hat trimmed with graceful light feathers, “Swedish” gloves made of the finest leather, a Skobelev cut coat decorated with sable fur and blue satin ribbons, a muff, a gold bracelet. These are all fashionable details of women's costume of the 1880s, pretending to be expensive elegance. However, they did not mean belonging to the high society, rather the opposite - the code of unwritten rules excluded strict adherence to fashion in the highest circles of Russian society.

In the 19th century, a secular lady treated fashion differently than it is now, and her clothes were determined by the rules of the imperial court, but not by French haute couture. The last craftsmen served completely different ladies who had nothing to do with high society.

So, we reveal the secret of Kramskoy's "Stranger". This painting depicts a lady called camellias, the highest rank of women of free behavior, the most common prostitute in search. The picture shows the free space on the left in the carriage, which was supposed to be occupied either by the husband or by the servant. Decent ladies themselves never went, as it was a sign "looking for a rich lover." Camellias gave themselves up to wealthy lovers and often received whole fortunes from them. Today, art critics argue that no one can establish the identity of this lady, since Kramskoy did not leave any information about her. We are completely incomprehensible to such a formulation of the question, because as soon as we began to deal with this portrait, which stands on the verge of a thematic picture, we found evidence of the artist himself and his friends, who called this lady "Countess Zaletova".

Of course, no such countess existed in the Russian Empire, but there was Bella Cooperfield, the daughter of the tailor Solomon Cooperfield from the Ukrainian town of Zhmerynka. Bella, however, called herself Marie and at one time worked on the stage. However, the career of the actress did not work out, and the merchant of the 1st guild Mishka Khludov, a millionaire and a reveler, immediately appreciated the charms of the "countess". With his light hand, this lady went from hand to hand, changing many rich gentlemen. By the way, she is sitting in a Khludov carriage, and the picture was painted in 2 stages, by superimposing one image on another. You know, gentlemen, it seems that there is not a single truthful place in Russian history, and that art critics in the Tretyakov Gallery are exclusively charlatans.

We have already talked about Repin's painting "The Cossacks are Writing a Letter to the Turkish Sultan" and explained that the famous painting is just a friendly caricature of the Ukrainianized society under the Kiev governor. The real picture hangs in the Dnepropetrovsk Museum and there are no trousers or crooked sabers with "seledtsy" on it. There are quite decent Cossacks, similar in dress to the Don Cossacks of that time. The question arises, what can you generally believe in the explanations of art historians who do not know the rules of decent behavior for a woman of the 19th century? We do not argue about the aesthetic value of this picture, but we want to say that it is time to engage in science for people who do not strive to achieve a career as an academician in it, but return to nuggets such as Lomonosov, Stoletov, Mendeleev, Fomenko and other decent people capable of feat. And not blindly trust those who simply rewrite each other's frank delirium of pseudo-scientific abstracts.

Not good, gentlemen, art critics, very bad! And we strongly advise you, dear readers, before visiting museums, first to understand their exposition at home, and only then, having your own opinion, to examine the rarities. As a rule, caretakers are not able to answer basic questions, not to mention the subtleties.

For example, while examining the Colosseum in Rome, our colleague asked what kind of plaque is located at its entrance on the right side. A completely unattractive sign, the presence of which was a discovery for a venerable guide. And only when he was brought to her, he read in amazement: "PIVS. VII. P. M. ANNO. VII". Indeed, if you translate this into Russian, then there is a text of the following content: "THE SEVENTH YEAR OF POPE PIA VII". Since this pope ruled from 1800 to 1823, we are talking about AD 1807. e. The Roman Colosseum is a reconstruction, supposedly on the site of ancient ruins, and the course of this construction of the ruins is depicted in the frescoes of the Borgia rooms in the Vatican.

Before you is a remake, gentlemen, a building of the early 19th century, made in the form as you see it today. Not destroyed by the barbarians, but also built. Moreover, completely ripped off from the real Coliseum in Istanbul, which is REAL ROME. After reading this, many will want to swear, as we wanted. Sometimes we are terribly sorry that Qatar forbids us to do this in communication with readers. And so I would like to bang with heavy boots, but tell the whole truth about Ivan Kramskoy and his lady from the Institute of "Jewish Wives".