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Count Fyodor Petrovich Tolstoy (Russian: Фёдор Петро́вич Толстой; 21 February 1783 – 25 April 1873) was a Russian artist who served as Vice-President of the Imperial Academy of Arts for forty years (1828–1868). His works – wax-reliefs, watercolours, medallions, and silhouettes – are distinguished by a cool ...
The Sevastopol Sketches (pre-reform Russian: Севастопольскіе разсказы, romanized: Sevastópolʹskiye razskázy; post-reform Russian: Севастопольские рассказы, romanized: Sevastópolʹskiye rasskázy), translated into English as Sebastopol Sketches or Sebastopol Stories or Sevastopol, [1] are three short stories by Leo Tolstoy published in 1855 to ...
Tolstoy cites the time, effort, public funds, and public respect spent on art and artists [2] as well as the imprecision of general opinions on art [3] as reason for writing the book. In his words, "it is difficult to say what is meant by art, and especially what is good, useful art, art for the sake of which we might condone such sacrifices as ...
Painting of Anna Ivanovna Tolstoy 1796 by Louise Élisabeth Vigée Le Brun. National Gallery of Canada. Countess Anna Ivanovna Tolstaya, née Princess Baryatinskaya (Анна Ивановна Толстая; December 5, 1774 - April 12, 1825) was the sister of prince Ivan Baryatinsky, wife of Marshal Nikolai Alexandrovich Tolstoy (1765–1816), a close friend of the Empress Elizabeth ...
Tolstoy also explores and explains the economic philosophy of Georgism, of which he had become a very strong advocate towards the end of his life. Tolstoy also tried writing poetry, with several soldier songs written during his military service, and fairy tales in verse such as Volga-bogatyr and Oaf stylized as national
It would be said of him that he was more Tolstoy than Tolstoy himself. Fulfilling the ideal of moral self-improvement, Chertkov gave all his heart and soul to educational activity. Following Tolstoy's initiative, in 1885 Chertkov organized and financed a publishing house called Intermediary ( Russian : Посредник ) which specialized in ...
In the opinion of art historian Galina Elshevskaya, the alterations evident in the two subsequent versions may have been prompted by the influence of Leo Tolstoy: "if in the first version of the painting the saint draws the executioner's sword, so to speak, purely physically, then in the last two versions the artist's favourite theme of the ...
The show was a success and premiered in Moscow's Maly Theatre in December 1891. Tolstoy attended Maly Theatre production in January 1892 and left dissatisfied with the artists' rendition of the three peasants. [4] The play has remained in Russian and Soviet theatre repertory ever since.
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