Ladimir Stasov is a music and art critic. His articles popularized the ideas of democratic culture and explained art to the masses. Stasov participated in the creation of a community of composers " Mighty bunch"and supported the movement of Peredvizhniki artists. Together they fought against academicism and the isolation of art from real life.

Young polymath

Vladimir Stasov was born in St. Petersburg into a noble family. His mother died early, and his father, the famous architect Vasily Stasov, was involved in raising the boy. He taught his son to systematically read and express his thoughts on paper - that’s how Stasov fell in love literary work. As a child, Vladimir Stasov dreamed of entering the Academy of Arts and following in the footsteps of his father, but he wanted his son to become an official, so in 1836 he sent his son to the school of law.

It was at the school that Vladimir Stasov became truly interested in art, especially music. Together with his friends, he acted out scores, rearranged operas and ballets, performed romances and arias, and took part in plays and concerts. “Hardly in any other Russian educational institution, - Stasov recalled, - music flourished to such an extent as in the law school. In our time, music played such an important role in our country that it could probably be considered one of the largest features of the general physiognomy of the school.”.

Vladimir Stasov. Photo: aeslib.ru

Mikhail Gorky, Vladimir Stasov and Ilya Repin in Kuokkala. 1900. Photo: ilya-repin.ru

Vladimir Stasov. Photo: nlr.ru

While studying, Stasov met the young musician Alexander Serov. Together they enthusiastically discussed the works of modern painters, new literature and works famous composers. During their studies, they studied almost all foreign and domestic musical literature. But the main ideological inspirer of Vladimir Stasov in matters of art was the critic Vissarion Belinsky.

“Belinsky’s enormous significance, of course, did not relate to just one literary part: he cleared the eyes of all of us, he educated characters, he chopped, with the hand of a strong man, the patriarchal prejudices with which all of Russia lived before him, he prepared from afar that healthy and powerful intellectual a movement that strengthened and rose a quarter of a century later. We are all his direct students.”

Vladimir Stasov

The formation of a critical view of art

In 1843, Vladimir Stasov graduated from college and got a job as an assistant secretary in the Land Survey Department of the Senate. Five years later he transferred to the Department of Heraldry, and two years later to the Department of Justice. But Stasov was not interested in either jurisprudence in general or the career of an official in particular. Most of all, he was interested in art.

Stasov believed that art needs professional critics. He shared the opinion of Vissarion Belinsky: art needs people “who, without producing anything themselves, nevertheless engage in art as their life’s work... studying it themselves, explain it to others.” Later, Stasov put forward the motto of his life “to be useful to others, if he himself was not born a creator.”

At the age of 23, Vladimir Stasov published his first critical article about French composer Hector Berlioz in the journal Otechestvennye zapiski. In the same year, the chief publisher of the magazine, Andrei Kraevsky, invited Stasov to the foreign literature department and allowed him to write short review articles on painting, music and architecture. During his two years of work at Otechestvennye Zapiski, Vladimir Stasov wrote about 20 articles.

In 1851, Vladimir Stasov went abroad with the Ural industrialist and philanthropist Anatoly Demidov as his secretary. Stasov understood that a critic must understand all areas of culture, and therefore in Europe he communicated with musicians and scientists, artists and architects, and studied European art.

“Criticism must contain all the arts, certainly without exception, because they are different aspects and means of one and the same general whole... only then can complete thought exist and there will be no more funny, hitherto existing disputes about which art above: sculpture, or poetry, or music, or painting, or architecture?

Vladimir Stasov

Critical realism of Vladimir Stasov

Ilya Repin. Portrait of Vladimir Stasov. 1905. State Russian Museum

Ilya Repin. Portrait of Vladimir Stasov. 1900. State Russian Museum

Ilya Repin. Portrait of Vladimir Stasov at his dacha in the village of Starozhilovka near Pargolov. 1889. State Tretyakov Gallery

Three years later, Vladimir Stasov returned to St. Petersburg. In Russia at this time, the democratic socio-political movement was gaining strength, and “critical realism” became the dominant trend in culture. He fought against academicism, religious and mythological themes and the isolation of art from the people. Realism proclaimed that art should explore the world and be a “textbook for life.”

Stasov believed that “every people should have their own national art, and not trail behind others along the beaten track, at someone else’s orders,” so he sought and supported best representatives Russian art. In St. Petersburg, Vladimir Stasov became friends with young composers Mily Balakirev and Alexander Dargomyzhsky. Together they formed a small circle of Russian music lovers.

Later, members of this circle - Mily Balakirev, Modest Mussorgsky, Alexander Borodin, Nikolai Rimsky-Korsakov and Cesar Cui - created artistic association composers "The Mighty Handful", the name of which was given by Stasov. The Kuchkists sought to embody the Russian national idea in music, studied musical folklore and church chants - and later used their elements in their compositions. Vladimir Stasov not only wrote articles about young musicians, but also helped them in their work: he suggested plots for operas, selected materials and documents for the libretto.

In the 1860s, Stasov also became friends with members of the Artel of Free Artists. Representatives of the movement rebelled against academicism in painting: they wanted to paint in life topics, and not on staged plots. Stasov shared their ideas, defending the principles of realism.

In 1870, the artel was replaced by the Association of Traveling Art Exhibitions. Inspired by the idea of ​​populism, Moscow and St. Petersburg painters took up educational work and organizing exhibitions. Vladimir Stasov supported their movement, in his articles he described social issues that affected the work of the Peredvizhniki, and welcomed the reflection folk life in their paintings.

At the same time, Stasov worked at the Public Library in St. Petersburg: he helped collect historical materials, organized exhibitions of ancient Russian manuscripts, and in 1872 became head of the art department. During his 50 years of service at the St. Petersburg Public Library, Vladimir Stasov collected large collection works by artists and did a lot to open free access to the library.

In 1900, Stasov was elected an honorary member of the Imperial St. Petersburg Academy of Sciences.

Vladimir Stasov died in 1906 in St. Petersburg. He was buried at the Tikhvin cemetery of the Alexander Nevsky Lavra. Two years later, a monumental tombstone with the inscription “To the Champion of Russian Art” was installed on his grave.

Music and art critic, art historian, ethnographer and publicist V.V. Stasov was born on January 2 (14), 1824 in St. Petersburg into a noble family. His father, the famous St. Petersburg architect Vasily Petrovich Stasov (1769-1848), had a strong influence on the development of his son’s aspirations and inclinations. But not only an outstanding critic came from this family. Sister V.V. Stasova Nadezhda Vasilievna Stasova (1822-1895) - famous public figure, one of the founders of the higher female education in Russia. Brother - famous lawyer Dmitry Vasilyevich Stasov (1828-1918). Granddaughter of V.P. Stasova Elena Dmitrievna Stasova (1873-1966) became one of the prominent figures of the Communist Party. The Stasov family was often visited by famous architects, artists, musicians, and scientists. Among them we can note the famous A.P. Bryullov.

In 1836, twelve-year-old Vladimir was sent by his father to the newly created School of Law. Then a 13-14 year old teenager V.V. Stasov became acquainted with the works of V. Hugo, A. Dumas, W. Scott, Shakespeare, Hoffmann, George Sand, Schiller, as well as Belinsky, Turgenev, Gogol. Appearance" Dead souls“The summer of 1842 was for Stasov and his comrades “an event of extraordinary importance.” “For several days,” recalls Stasov, “we read and reread this great, unheard of original, incomparable, national and brilliant creation. We were all as if intoxicated with delight and amazement." While still at the School, Stasov became interested in music and decided to try his hand at writing for the first time. In 1842, he wrote an article about F. Liszt, who came to St. Petersburg, although he did not publish it anywhere.

In 1843 V.V. Stasov graduated from the College and began serving as an assistant secretary in the Land Survey Department of the Senate. From 1848 he served as secretary in the Department of Heraldry, and from 1850 as assistant legal counsel in the Department of Justice. Fluent in six languages. But he was not interested in either law or a career. Having served his official hours, he hurried to the Hermitage or the Academy of Arts.

The beginning of his writing biography V.V. Stasov counted 1847, when his first articles appeared in Otechestvennye zapiski. In the same year, Stasov was invited by the publisher " Domestic notes"Kraevsky among the magazine's employees in the foreign literature department. In addition to working in the department, Stasov received the right to write short reviews on painting, sculpture, architecture and music. During two years of work in Otechestvennye Zapiski - 1847 and 1848 - he published about 20 articles. In 1848, however, for his connection with the Petrashevite circle, Stasov was removed from work in the magazine. He was even arrested and imprisoned Peter and Paul Fortress.

In 1851 V.V. Stasov retired and served as secretary of the Ural industrialist and philanthropist A.N. Demidov, a very rich man, a fan of the arts, went abroad. By traveling abroad, he sought first of all to replenish his art education exploring the treasures of European art. Stasov visited England, Germany, France, Switzerland, and many cities in Italy. Worked in major libraries and archives. He was a librarian at the Demidov estate in San Donato near Florence, and often visited Russian artists and architects who lived in Italy - Alexander Bryullov, Sergei Ivanov, Vorobyov and Aivazovsky.

In May 1854, in connection with Crimean War, V.V. Stasov returned to St. Petersburg, where he became close to young composers, M.P. Mussorgsky, N.A. Rimsky-Korsakov, . With the active participation of Stasov, an artistic association of composers took shape, which became known under the name “The Mighty Handful,” invented by Stasov. In the 1860s, Stasov also supported the famous “Association of Traveling Exhibitions”, with which all his activities were closely connected. Stasov was one of the main inspirers and historian of the “Wanderers”, took Active participation in preparing the first and a number of subsequent exhibitions.

At the end of 1856, the director of the Public Library in St. Petersburg, M.A. Korf offered Stasov the position of his assistant to collect materials on the history of life and reign. In 1856-1872 V.V. Stasov worked for free at the Public Library, having his own desk in the Art Department. On his initiative, a number of exhibitions of ancient Russian manuscripts are being organized. In November 1872, he was hired as a full-time librarian, and until the end of his life he was in charge of its Art Department. In this post, he constantly advised writers, artists, composers, collected manuscripts of Russian artists, especially composers (largely thanks to Stasov, the Russian National Library now has the most full archives composers of the St. Petersburg school).

V.V. Stasov has published in more than 50 Russian and foreign periodicals. In 1869, he received the Uvarov Prize for his work “The Origin of Russian Epics.” In 1900 he was elected Honorary Academician of the Academy of Sciences in the category belles lettres as a representative of art criticism. Stasov is the author of numerous monograms and articles about music, painting, sculpture, Russian composers and artists; works in the field of archaeology, history, philology, folkloristics, ethnography.

In 1882, Stasov was offered the post of vice-director, and in 1899 - director of the Library. But he refused, although during his service he repeatedly had to replace the vice-director and director. He also refused to be awarded orders. On November 27, 1902, Stasov received a diploma of an honorary member of the Public Library in connection with the 30th anniversary of his work as a librarian. For the fifty years (from 1856 to 1906) that V.V. served. Stasov in the St. Petersburg Public Library, he did a lot to open free access to the library, persistently sought the abolition of paid use of its book wealth.

82-year-old V.V. Stasov died in St. Petersburg on October 10 (23), 1906. He was buried at the Tikhvin Cemetery of the Alexander Nevsky Lavra (Necropolis of Art Masters). In 1908, a monumental tombstone, which is a monument of federal significance, was built on his grave (at the end of the South Path). On the tombstone there is an inscription: “To the champion of Russian art.”

The history of this tombstone is interesting. Back in 1889, one of the students of V.V. Stasov, the then young sculptor I.Ya. Gunzburg gave him a small figurine, where he depicted him in Russian folk costume. Stasov liked this work so much that he wrote to his daughter: “If I were some kind of major historical person, I would never wish for myself any other monument than just this one...” When, after Stasov’s death, it was decided to erect a monument on his grave, funds for which were collected by subscription, the statuette of Gunzburg was taken as the basis. A statue of Stasov is installed against the backdrop of a monolithic rock. Based on the drawings of the architect I.P. Ropeta is artistic cast iron fence with medallions made of smalt, in which the letters “F”, “Z”, “M”, “V” are placed, meaning Painting, Architecture, Music and Sculpture. On the gate of the fence there is a spur and a burning glass, reminiscent of Stasov’s talent to direct and ignite.

His relatives are buried not far from Stasov’s grave: his father, architect V.P. Stasov (1769-1848); brother Dmitry (1828-1918), lawyer, public figure; sisters Nadezhda (1822-1893) and Sofia (1829-1858).

Stasov Vladimir Vasilievich

WITH Tasov (Vladimir Vasilyevich) - the son of the previous one, an archaeologist and writer in the field of fine arts, was born in 1824, died in 1906. He completed a course at the Imperial School of Law. He first served in the land surveying department of the government. Senate, then in the Department of Heraldry and in consultation with the Ministry of Justice. Having retired in 1851, he went to foreign lands and until the spring of 1854 lived mainly in Florence and Rome. In 1856, he entered the service of the commission for collecting materials about the life and reign of the emperor, which was under the control of the bar. , and wrote, based on authentic documents, several historical works, including studies: “The young years of Emperor Nicholas I before his marriage”, “Review of the history of censorship during the reign of Emperor Nicholas I”, “Review of the activities of the III Department of His Majesty’s Own” chancellery during the reign of Emperor Nicholas I", "History of Emperor Ivan Antonovich and his family", "History of attempts to introduce the Gregorian calendar in Russia and in some Slavic lands"(compiled on the basis of data from the state archive and printed, by order of the Highest, only in a small number of copies not intended for circulation in the public). All these studies were written specifically for the emperor and entered his personal library. Since 1863, Stasov about For 20 years he was a member of the general presence of the II department of His Majesty's Own Chancellery. From 1856 to 1872, he took part in all work in the art department of the Imperial Public Library, and in the autumn of 1872 he took up the post of librarian of this department. At the beginning of 1860 's he was the editor of the "Izvestia" of the Imperial Archaeological Society, as well as the secretary of the ethnographic department of the Imperial Geographical Museum, which he organized in collaboration with. On behalf of the Academy of Sciences, he wrote analyzes of essays: "On the history of Russian engraving" (in 1858 and 1864 gg.), Archimandrite Macarius - about Novgorod antiquities (1861), - about the history and technology of Russian lace (1886), etc. Since 1847, he published articles in more than fifty Russian and foreign periodicals and published several works as separate books. Of these articles and publications, the most important: a) on archeology and art history - “Vladimir Treasure” (1866), “Russian folk ornament"(1872), "The Jewish Tribe in the Creations of European Art" (1873), "Catacomb with Frescoes in Kerch" (1875), "Capitals of Europe" (1876), "The Arc and the Gingerbread Horse" (1877), " Orthodox churches western Russia in the 16th century" (1880), "Notes on Old Russian clothing and weapons" (1882), "Twenty-five years of Russian art" (1882 - 3), "The brakes of Russian art" (1885), "Coptic and Ethiopian architecture" (1885 ), "Paintings and compositions hidden in capital letters ancient Russian manuscripts" (1884), "The Throne of the Khiva Khans" (1886), "Armenian manuscripts and their ornamentation" (1886); moreover, critical articles about the works of artists, and and about the works of D.A. Rovinsky; b) biographies of artists and artistic figures -, and, I. Repin, V. Vereshchagin, V. Prokhorov, as well as a zealot of domestic education; c) articles on the history of literature and ethnography - “The origin of Russian epics” (1868), “The oldest story in the world” (1868), “An Egyptian fairy tale in the Hermitage” (1882), “About Victor Hugo and his significance for France” ( 1877), “About the Russians of Ibn Fadlan” (1881). In 1886, by order of the Highest, with funds from the state treasury, Stasov published an extensive collection of drawings entitled: “Slavic and Oriental Ornament Based on Manuscripts from the 4th to the 19th Century” - the result of thirty years of research in the main libraries and museums throughout Europe. He is currently preparing for publication an essay on Jewish ornament, with an appendix of an atlas of chromolithographed tables - a work based on drawings of Jewish manuscripts stored in the Imperial Public Library of the 10th - 14th centuries. Collection of op. Stasov was published in three volumes (St. Petersburg, 1894). In his numerous articles about Russian art, Stasov, without touching at all artistic technique performance, always put the content and nationality of the works of art he considered in the first place. His beliefs, although contested, were always sincere. IN Lately He especially tried to counteract with his articles the new trends in painting, which received the general name of decadence. A.S.
In the history of Russian science, Stasov’s work on the origin of epics played a particularly important role. It appeared at a time when populist sentimentality or mystical and allegorical interpretations reigned in the study of the ancient Russian epic. Contrary to the opinion that epics represent an original national work, a repository of the most ancient folk legends, Stasov argued that our epics were entirely borrowed from the East and that he was only a retelling of it epic works, poems and fairy tales, moreover, the retelling is incomplete, fragmentary, as is always the case with an inaccurate copy, the details of which can only be understood when compared with the original; that the plots, although Aryan (Indian) in essence, came to us most often at second hand, from Turkic peoples and in Buddhist processing; that the time of borrowing is rather later, around the era of the Tatars, and does not relate to centuries of long-standing trade relations with the East; that in terms of characters and depictions of personalities, Russian epics did not add anything independent and new to their foreign basis, and did not even reflect in themselves social order those eras to which, judging by the proper names of the heroes, they belong; that between an epic and a fairy tale there is generally no difference that is assumed in them, seeing in the first a reflection of the historical fate of the people. This theory created a big boom in the scientific world and caused a lot of objections (among other things in the "Journal of the Ministry of Public Education", 1868, No. 11; in the "Report on the 12th Uvarov Awards" (St. Petersburg, 1870); in the newspaper " Moscow"; in the "Act of the Novorossiysk University", 1869; in "Conversations of the Society of Lovers of Russian Literature" (issue 3, Moscow, 1871); etc.) and attacks that did not stop even before the suspicion of the author’s love for his native Russian. Not entirely accepted by science, Stasov’s theory, however, left deep and lasting traces in it. First of all, it moderated the fervor of mythologists, contributed to the elimination of sentimental and allegorical theories, and generally caused a revision of all previous interpretations of our ancient epic- revision, and now unfinished. On the other hand, she outlined a new fruitful path for historical and literary studies, a path based on the fact of communication between peoples in business poetic creativity. Some of Stasov’s particular conclusions and instructions (about the fragmentary nature of the presentation, the lack of motivation in some epics borrowed from someone else’s source; the impossibility of considering the class characteristics of various epic heroes as historically accurate, etc.) were confirmed by subsequent researchers. Finally, the thought of eastern origin Some of our epic stories have been re-expressed and systematically carried out, albeit with a completely different apparatus. The enemy of all false patriotism, Stasov in his literary works acts as an ardent fighter for the national element, in in the best sense this word, constantly and persistently indicates what Russian art can find Russian content and convey it not in an imitative foreign, but in an original national manner. Hence the predominance of critical and polemical elements in his works. Z.
Stasov's musical and critical activity, which began in 1847 ("Musical Review" in "Notes of the Fatherland"), spans more than half a century and is a living and vivid reflection of the history of our music during this period of time. Having begun in a dark and sad period of Russian life in general and Russian art in particular, it continued in the era of awakening and remarkable rise artistic creativity, the formation of a young Russian music school, its struggle with routine and its gradual recognition not only here in Russia, but also in the West. In countless magazine and newspaper articles. (Articles up to 1886 were published in Stasov’s “Collected Works” (vol. III, “Music and Theater”, St. Petersburg, 1894); for a list of articles published after (incomplete and reaching only up to 1895), see "Musical Calendar-Almanac" for 1895, published by "Russian Musical Newspaper" (St. Petersburg, 1895, p. 73). Stasov responded to every somewhat remarkable event in the life of our new music school, passionately and confidently interpreting the meaning new works, fiercely repelling the attacks of opponents of the new direction. Not being a real specialist musician (composer or theorist), but having received a general musical education, which he expanded and deepened with independent studies and acquaintance with outstanding works of Western art (not only new, but also old - old Italians, Bach, etc.), Stasov went little into a specifically technical analysis of the formal side of the issues under consideration musical works, but with all the greater fervor he defended their aesthetic and historical meaning. Guided by a fiery love for his native art and its best figures, a natural critical instinct, a clear consciousness of the historical necessity of the national direction of art and an unshakable faith in its ultimate triumph, Stasov could sometimes go too far in expressing his enthusiastic passion, but relatively rarely was he mistaken in his overall assessment of everything significant, talented and original. With this he connected his name with the history of our national music for the second time. half of XIX centuries. In terms of sincerity of conviction, disinterested enthusiasm, fervor of presentation and feverish energy, Stasov stands completely apart not only among our music critics, but also among European ones. In this respect, it partly resembles, leaving aside, of course, any comparison of their literary talents and significance. Stasov’s great merit to Russian art should be given to his unnoticeable work as a friend and adviser to our composers (starting with, whose friend Stasov was for a long number of years, and ending with representatives of the young Russian school, etc.), who discussed with them their artistic intentions, details of the script and libretto, which took care of their personal affairs and contributed to the perpetuation of their memory after their death (biography, for a long time the only one we have, biographies of Mussorgsky and our other composers, publication of their letters, various memoirs and biographical materials, etc. .d.). Stasov also did a lot as a historian of music (Russian and European). His articles and brochures are devoted to European art: "L" abbe Santini et sa collection musicale a Rome" (Florence, 1854, Russian translation in the "Library for Reading", 1852), a lengthy description of the autographs of foreign musicians belonging to the Imperial Public Library ("Domestic Notes", 1856), "Liszt, Schumann and Berlioz in Russia" ("Northern Bulletin", 1889, No. 7 and 8; extracts from here "Liszt in Russia" were published with some additions in the "Russian Musical Newspaper", 1896, No. 8 - 9); "Letters of a Great Man" (Fr. Liszt, "Northern Messenger", 1893), " New biography Liszt" ("Northern Bulletin", 1894), etc. Articles on the history of Russian music: "What is beautiful demestvennoe singing" ("News of the Imperial Archaeological Society", 1863, vol. V); description of Glinka's manuscripts ("Report of the Imperial Public Library for 1857"); a number of articles in the third volume of his works, including: "Our music for the last 25 years" ("Bulletin of Europe", 1883, No. 10), "Storms of Russian art" (ibid., 1885, No. 5, 6) etc.; biographical sketch “N.A. Rimsky-Korsakov" ("Northern Bulletin", 1899, No. 12); "German organs among Russian amateurs" ("Historical Bulletin", 1890, No. 11); "In memory of M.I. Glinka" ("Historical Bulletin", 1892, No. 11 and seq.), "Ruslan and Lyudmila" by M.I. Glinka, for the 50th anniversary of the opera ("Yearbook of the Imperial Theaters", 1891 - 1892 and seq.), "Assistant Glinka" (Baron F.A. Rahl "Russian Antiquity", 1893, about him "Yearbook of the Imperial Theaters", 1892 - 93), biographical sketch of Ts.A. Cui ("Artist", 1894, No. 2); biographical sketch ("Russian Musical Newspaper", 1895, No. 2); "Russian and foreign operas performed at the Imperial Theaters in Russia in the 18th and 19th centuries" ("Russian Musical Newspaper", 1898, No. 1, 2, 3 and otd.) ; “The work attributed to Bortnyansky” (a project for printing hook singing; in the “Russian Musical Newspaper” 1900, No. 47), etc. The letters of Glinka, Serov, Mussorgsky, Prince, Liszt and others published by Stasov are of great importance. a collection of materials on the history of Russian church singing, compiled by Stasov in the late 50s and transferred by him to the famous musical archaeologist, who used it for his major work on church singing in Russia. He cared a lot about the department of musical autographs of the Public Library, where he donated many different manuscripts of our and foreign composers. See "Russian Musical Newspaper", 1895, No. 9 and 10; F. "V.V. Stasov. Essay on his life and work as a musical writer." S. Bulich.

Other interesting biographies.

Vladimir Vasilievich Stasov(January 2, 1824, St. Petersburg - October 10, 1906, St. Petersburg) - Russian music and art critic, art historian, archivist, public figure.

Son of the architect Vasily Petrovich Stasov. Vladimir's elder sister, Nadezhda (1822-1895) was an outstanding public figure, his younger brother Dmitry (1828-1918) was an outstanding lawyer.

Biography

In 1836, Vladimir Stasov was sent to the School of Law. While still at school, Stasov became imbued with a keen interest in music, but did not find any special talents as a composer in himself, and decided to try his hand at being a critic for the first time. In 1842, he wrote an article about F. Liszt, who came to St. Petersburg, although he did not publish it anywhere.

After graduating from college in 1843, he entered the service as an assistant secretary in the Land Survey Department of the Senate, from 1848 he served as a secretary in the Heraldry Department, and from 1850 as an assistant legal adviser in the Justice Department. Stasov was fluent in six languages.

In 1847, with the publication of his first article in Otechestvennye Zapiski - about the French composer Hector Berlioz - his literary-critical activity began. In the same year, Stasov was invited by the publisher of Otechestvennye Zapiski Kraevsky to collaborate in the department of foreign literature. From that time on, Stasov began to write short reviews on painting, sculpture, architecture and music. In 1847-1848 he published about 20 articles.

In 1848, for his connection with the Petrashevites, Stasov was removed from work in the magazine, arrested and imprisoned in the Peter and Paul Fortress. In 1851, V.V. Stasov retired and, as the secretary of the Ural industrialist and philanthropist A.N. Demidov, a very rich man, a fan of the arts, went abroad. Worked in major libraries and archives. He was a librarian at the Demidov estate in San Donato near Florence, and often visited Russian artists and architects who lived in Italy - Alexander Bryullov, Sergei Ivanov, Vorobyov and Aivazovsky.

In May 1854, V.V. Stasov returned to St. Petersburg. At that time, with his help, an artistic association of composers took shape, which became known under the name given by Stasov, The Mighty Handful. In the 1860s, Stasov supported the “Association of Traveling Exhibitions”, with which all his activities were closely connected. Stasov was one of the main inspirers and historian of the “Itinerants,” and took an active part in the preparation of the first and a number of their subsequent exhibitions. At the end of 1856, the director of the Public Library in St. Petersburg, M. A. Korf, offered Stasov a job as his assistant, namely, to collect materials on the history of the life and reign of Nicholas I.

In 1856-1872, Stasov worked at the Public Library, having his own desk in the Art Department. On his initiative, a number of exhibitions of ancient Russian manuscripts are being organized. In November 1872 he was hired as a full-time librarian, and until the end of his life he was in charge of the Art Department. In this post, he constantly advised writers, artists, composers, collected manuscripts of Russian artists, especially composers (largely thanks to Stasov, the Russian National Library now has the most complete archives of composers of the St. Petersburg school).

In 1900, simultaneously with his friend L.N. Tolstoy, he was elected an honorary member of the Imperial St. Petersburg Academy of Sciences.

He died on October 23, 1906 in St. Petersburg. He was buried in the necropolis of masters of art of the Alexander Nevsky Lavra. Bronze monument above the grave are the works of the sculptor I. Ya. Ginzburg and the architect I. P. Ropet.

Views

Stasov actively supported the Peredvizhniki movement and opposed the uncontested dominance of academic art. His critical articles and monographs about the now famous representatives of Russian art (N. N. Ge, V. V. Vereshchagin, I. E. Repin, M. P. Mussorgsky, A. P. Borodin, K. P. Bryullov, etc. ), as well as extensive correspondence with them, are of the greatest interest. He is also known as an opponent of the music critic (and former friend) A. N. Serov in discussing the merits of two operas by M. I. Glinka; Stasov was a researcher and promoter of the composer's work.

Stasov was the ideologist of a new direction in music, represented by a group of St. Petersburg composers, which he called the “Mighty Handful.”

Stasov was also an active critic of anti-Semitism, and was a connoisseur of Jewish art. So, in response to Richard Wagner’s essay “Jewishness in Music,” he responded in the essay “Judaism in Europe /According to Richard Wagner/” (1869), where he sharply criticized the composer’s anti-Semitism

Addresses in St. Petersburg

• 01/02/1824 - 1830 - 1st line of Vasilyevsky Island, 16;
• 1854-1873 - Mokhovaya street, 26;
• 1873-1877 - Trofimov’s house - Shestilavochnaya street, 11;
• 1877-1881 - Sergievskaya street, 81;
• 1881-1890 - apartment building - Znamenskaya street, 26, apt. 6;
• 1890-1896 - apartment building - Znamenskaya street, 36;
• 1896 - 10.10.1906 - 7th Rozhdestvenskaya street, 11, apt. 24.

Memory

• In 1957, a memorial plaque was installed on the house at 26 Mokhovaya Street with the text: “The outstanding Russian art critic Vladimir Vasilyevich Stasov lived and worked in this house from 1854 to 1873.” .

Perpetuation of the name

I. S. Turgenev:

Argue with a person smarter than you: he will defeat you... but you can benefit from your very defeat. Argue with a person of equal intelligence: whoever wins, you will at least experience the pleasure of fighting. Argue with a person of the weakest mind: argue not out of a desire to win, but you can be useful to him. Argue even with a fool! You won’t gain either fame or profit... But why not have fun sometimes! Just don’t argue with Vladimir Stasov!

• In Lipetsk there is Stasova Street.
• In Vladimir there is Stasova Street.
• In Krasnodar there is Stasova Street (since 1957).
• "Children's School of Music them. V.V. Stasov" in Moscow.
• There is Stasova Street in Minsk.