mood: so much text)))

I continue to talk about my trip to the Krasnokutsky district of the Kharkov region. This time we will talk about the village of Parkhomovka. I highly recommend reading the life story of the founder of the Parkhomov Museum, Afanasy Lunev - he amazed me more than the works of Gauguin and Picasso...

Parkhomovka

The village of Parkhomovka is located in the Krasnokutsky district of the Kharkov region, approximately 130 km from Kharkov.

Parkhomovka previously belonged to the Kharkov province. The short story is this. In the 17th century, the owner of the Parkhomovsky farm was Colonel Perekrestov. Under Peter I, the farm along with the peasants was taken away from the colonel in favor of the state. Catherine II donated the village of Parkhomovka, again along with the peasants, to Lieutenant General Count Podgorichani. Now the Count's mansion houses the Parkhomov Museum (more about it below). The half-Italian Podgoricani “built,” as they now say, something in the style of an Italian palazzo for his living, which surprised his neighbors quite a bit. And he died.

Parkhomovka received the status of state economy. And at the end of the 19th century it was acquired by Pavel Gerasimovich Kharitonenko.

This is what I found on one of the streets of Parkhomovka. Local residents, who continue to tear the building apart brick by brick (and without any hesitation - right opposite the ruins, someone is building a dacha from an ancient monument...), say that this is one of the buildings of Kharitonenko, already known to you.
In addition to this building, Kharitonenko’s sugar factory still operates in Parkhomovka and there is a dormitory building built by him for workers (next to the museum).

Malevich

Who would have thought - relatively recently it became known that Kazimir Malevich was born not in Kyiv Parkhomovka, but in Kharkovskaya! His parents were of Polish origin.

It was because of the sugar factory that the Malevichs moved to the Kharkov province. In 1890, Pavel Kharitonenko undertook to reconstruct production in the village of Parkhomovka, for which he invited the best craftsmen from all over the Russian Empire. Among them was Casimir’s father, who was considered a first-class sugar maker.

It is assumed that the Malevich family settled in the manager’s house, which is still located on the territory of the plant. Kazimir was sent to a five-year agricultural school. The father dreamed that his son would master his craft. The agricultural school, in fact, became the artist’s first systematic education, and before that he studied at home from time to time with different teachers.

After the Malevich family left Parkhomovka in 1895, Kazimir convinced his father not to insist that he continue to study the sugar-making craft, and entered the Kyiv Art School. Then - to the Moscow Academy of Arts.

The Parkhomov Art Museum houses a work by Kazimir Malevich - a drawing slightly larger than an ordinary office sheet, made in watercolor.It's called "Suprematism-65".

Temple

First Intercession Church was built in 1704, then, instead of a white thatched temple, Count Podgorichani built a vast temple with 5 baths and 3 altars. After his death, his wife, Varvara Podgorichani, built a stone church, which was consecrated in 1808.
In 1948 the temple was closed, and in 1952 it was almost destroyed and began to be used as a warehouse for a sugar factory.
On July 9, 1993, with the blessing of Metropolitan Nikodim of Kharkov and Bogodukhovsky, the temple was opened.

Parkhomovsky Art Museum

One of the journalists asked the singer Madonna, who had reached the zenith of fame, and whom it was difficult to surprise with anything: “Who would you like to meet?”
And I received the answer: “I read that in some Ukrainian village there lives a schoolteacher who has collected a wonderful collection of paintings. It would be interesting for me to meet and talk with him...”

The history teacher who created the Parkhomovsky Historical and Art Museum in the Kharkov region was called Afanasy Fedorovich Lunev. A museum of this level is the only one in the post-Soviet space located in a rural estate. But the first building of the museum was an ordinary merchant's house.

Before the revolution, a merchant lived in Parkhomovka. His house was one-story, iron roofed, wooden plastered, and before the war it housed a school. And after the war, the sugar factory moved its people there, dividing everything into little rooms. There were 5-6 rooms, maybe even more. And so, a decree was issued - all school buildings should be immediately returned to schools. That’s when there was hope for a building for the museum. The school director filed a claim in the arbitration court, and the museum got its first premises.

I wonder what The count's mansion, where the museum is now located, was taken using “military stratagem.” This was the period of the Khrushchev Thaw - 1963, it was then that they remembered that art belongs to the people. And here is a rural museum. A film crew from Kharkov came to film a cheerful, optimistic story. The director looked around the dark and dilapidated merchant’s house and said: “No, you can’t film here.” The secretary of the district committee who was present was very upset, and Lunev suggested moving the exhibits to the former mansion, where space had just become available. The movie was filmed, but Lunev refused to vacate the occupied premises. When the local authorities began to “attack”, they promised to inform the regional committee that, with the knowledge of the district authorities, the “linden” was shown on television. There was no scandal. The collection remained in the mansion, and in 1987 the second floor of the building was given over to the exhibition.

The founder of the museum, Afanasy Fedorovich Lunev, now rightfully classified as one of the galaxy of Kharkov educators, was born on January 14, 1919, in one of the villages of the Surzhansky district of the Kursk province. His father was a miner. In those places, from time immemorial, the custom was this: a man left the village to work and came home twice a year - for haymaking and harvesting. Well, occasionally on New Year's... Subsequently, the family moved to Donbass. Afanasia's mother was literate (the only literate woman in the village!), and graduated from primary school. At the final exams, the trustee offered to take the girl to the Surzhansky gymnasium at public expense, but her father, Lunev’s grandfather, did not let her, so after school she first became a nanny, and then became a servant to the zemstvo doctor who lived in the village. On his father’s side, Lunev’s grandfathers were devout Old Believers.

Teacher Afanasy Lunev began his first lesson at the Parkhomov school on October 1, 1945. He was then 25 years old. From the luggage - 4 years of study at Kiev University and 4 years of fascist concentration camps. There were no books or personal belongings. There was a sense of responsibility for my students, for children who had already experienced grief as adults.

Lunev once said about his first students: “Death was more familiar to them than an ABC book.” Souls roughened by war, not at all inclined to perceive aesthetic values. Teacher Lunev wanted to see them differently. In parallel with his teaching work, he was finishing his studies - he was a fifth-year part-time student at Kharkov University.

In 1955, Lunev and his students founded the “Young Historian” society, which became the foundation of the future museum. One of its first exhibits was the “revision tale” of Parkhomovka for 1816. Then old books and icons, spinning wheels, and ancient coins appeared, found by the children in villages throughout the area. During the summer holidays, we went to the Southern Bug, where we helped Moscow archaeologists dig up the ancient Greek colony of Olbia - this is how ceramics made at the dawn of our era appeared in the museum.

And then Afanasy Fedorovich, a passionate lover of art, proposed organizing an exhibition of reproductions of paintings from the Tretyakov Gallery at the school. The exhibition was such a success that the whole of Parkhomovka came to the school. It was then that Lunev decided to fulfill his old daring dream: to create a real art museum. The beginning was the teacher’s personal collection, which he began to collect in the post-war years: he was malnourished, since money and food were needed to purchase paintings on the Kharkov market; I didn’t get enough sleep, since getting to Kharkov at that time was a whole Sunday adventure (on foot, on a narrow-gauge railway, by bus, this is with irregular transport!). And I had to return to school for classes on time. WITH Kharkov flea market, which actively lived at the Blagoveshchensky market (in Kharkov - on Blagbaz), Lunev met while studying at the University. Karazin. This trading structure was closed down in the early 50s, but immediately after the war it flourished. There was everything here, and in the most unexpected combinations. Antique porcelain, primus needles and rare books could be sold next to the nails... Thus, two dozen paintings were acquired, among which were “Mary Magdalene” by Murillo, “Spring” by Pizarro, “Palms” by Gauguin, a study by Renoir “At the Ball”... The oldest Parkhomov resident, Lysogorenko, having met Lunev, donated Yaroshenko’s landscapes to the museum, watercolors by Kramskoy, still life by Cezanne. A number of contemporary works were donated by Kharkov artists.

But the most powerful “patron of the arts” was the world famous Hermitage. Having learned that rural children were collecting an art collection in their village, Leningrad art scientists lent them a helping hand. In 1958, the Hermitage invited the guys from Parkhomovka, led by Lunev, to visit. For four days, young Parkhomovites, holding their breath, traveled around the Hermitage with a specially designated guide, and went home with generous gifts: additions to the museum. Beautiful portraits, sculptures, porcelain, archaeological finds - this is not a complete list of gifts from the Leningrad Museum to Parkhomov schoolchildren over 20 years of friendly meetings and correspondence.

Friends were also found in Moscow: Parkhomovites became part of the Pushkin State Museum of Fine Arts and in the museums of the Moscow Kremlin. Correspondence began with famous Soviet artists Yuon and Saryan, Vuchetich and Romadin, Chuikov and Pimenov... It is curious that the idea of creating a rural art museum captured not only artists. People of various professions visited Parkhomovka, bringing with them gifts from their personal collections.

Teacher Lunev keeps letters from People's Artist of the USSR V. A. Favorsky as museum relics. These letters are a wise and heartfelt conversation by an outstanding master about the place of man in life, about art, which should serve the people. He was a truly amazing man: with the prize he received in Leipzig, Favorsky instructed his German friends to buy paintings and gave them all to Parkhomovsky
to the museum. Thanks to his care and recommendations, the Rainbow Club was a guest at the Dresden Gallery and the Berlin Art Museum three times.

Once, having gathered for a vacation in Moscow, Lunev’s students received from Ilya Erenburg, with whom they were in correspondence, the following telegram: “I am waiting for Parkhomov’s “Rainbow” to join me (that was the name of the school club of lovers of beauty, into which the society eventually grew." Young historian"). At the club, Lunev told the regularly gathered children about the history of the emergence of musical and pictorial masterpieces, about art devotees, creators and collectors, about the history and culture of various countries. And most importantly, he inspired that without an understanding of beauty it is impossible to become a real person, capable of giving people joy... And the Rainbow club came to visit the Moscow apartment of the writer Ehrenbrug in full force. After this meeting, Picasso’s drawings appeared in the museum, as well as his unique ceramic vase “Owl”.

The guys visited both the poet Stepan Shchipachev and the artist Nikolai Romadin. But they especially fell in love with the workshop of sculptor Sergei Konenkov, to whom they came for 15 years in a row.

In the last years of his life, Afanasy Fedorovich did not go anywhere, did not receive anyone and did not see anything. He had cataracts. The man who had a “healthy vision” of beauty and invited “boys and girls, as well as their parents” to admire masterpieces, seemed to have gone into “inner vision,” ascetic, lonely. He died on February 7, 2004 at the age of 85.

Here a few excerpts from the interview with this amazing person:

“Something sank into me too,” the authors of the Moscow book recorded Lunev’s words, “but I more than once admitted to my students that, unfortunately, I am so ignorant that I don’t know if I will have time to rise to such a height when I could say: “ I’m no longer ignorant, but I still don’t know anything.” But my life was spent mainly reading, I spent the most money in my life on books, but all the time, every moment of my life, I am convinced that I know very little»

“For me, it’s not even important that the guys know everything about artists and sculptors,” says Afanasy Fedorovich Lunev. “The main thing is that this knowledge, this culture, this beauty foster kindness.” A person must have not only a smart head, but also a smart heart. Cruelty, meanness, callousness—such qualities of certain people come from poverty of feelings, from insufficient education in true art.”

“My mother instilled in me the first concepts of goodness. She was an amazingly selfless person. Lived by the principle: to become rich, you need to give as much as possible. She shared everything she had with people. And in return she acquired spiritual wealth. You can wear out and throw away boots, gain and lose gold. You will never wear out spirituality, kindness, humanity, mercy, you will never lose it... Do you remember what Herzen called in his “Bell”? “Calling the living!” Who was he calling? Those who have a living heart, a living soul..."

“Once upon an occasion I bought a book at the market by the French mathematician Andre Poincaré, the brother of their president. My self-education began with this book. I remember how shocked I was by The Count of Monte Cristo. This book taught me to wait and hope. And after the count, Gorky’s Matvey Kozhemyakin, a man not of this world, became my friend. I felt terribly sorry for him: how lonely a good man is, how lonely he is always and everywhere!…”.

Lately there has been a lot of talk about the fact that it is unlikely that the Parkhomov Museum contains originals of famous artists. This is easy to explain - during the formation of the collection there was no one to conduct examinations. And it is much more pleasant to believe that in an unknown village there is a “second Hermitage” with originals by Picasso, Renoir, Pizarro and Gauguin...

The most important monument for the neo-Russian style, now found itself on the territory of Ukraine, in the far corner of the Kyiv region. Designed by the greatest master of this style, Vladimir Aleksandrovich Pokrovsky - the author of the Feodorovsky Cathedral in Tsarskoye Selo, the State Bank in Nizhny Novgorod, the memorial church in Leipzig and much more. Moreover, the temple in Parkhomovka was his debut as an independent architect.
Construction was carried out in 1903-1907. at the expense of the owner of the local estate, Viktor Viktorovich Golubev, a St. Petersburg orientalist, in memory of his father, industrialist, railroad builder Viktor Fedorovich. That is why, from the south of the church, a chapel of the holy martyr Victor appeared - the tomb of V.F. Golubev (the remains were thrown out of there in Soviet times and buried by a local resident in the forest).
The church in Parkhomovka is the first LARGE temple in the neo-Russian style. From it comes a whole line of “imitative” churches of the early twentieth century. For some reason no one paid attention to this (not for some reason, however, but because no one specifically studied the later temple construction). But I did. As a result, an article appeared, published in the recently published collection "Architectural Heritage" (A.V. Slezkin. Church of the Intercession in Parkhomovka and its influence on the construction of neo-Russian style temples" // Architectural Heritage. Issue 49). I posted it on my LiveJournal. in three parts: part 1, part 2, part 3.
Here it is less scientific, easier to understand, and with more pictures. About some “subsequent” temples - in subsequent posts.

The church complex also includes a fence with an original gate (for me personally, it evokes associations with some of the works of A. Gaudi), a gatehouse and the now abandoned clergy house.

Parkhomovskaya Church is a three-nave cross-domed basilica. This year, while in France, I clearly realized how Romanesque it is in structure, with a self-sufficient western screen facade. But at the same time, completely different traditions are combined in an extremely organic way. The bell tower figuratively goes back to Ivan the Great, the side facades - to Novgorod churches. Above the main entrance there is a large mosaic panel “The Intercession of the Virgin”, the idea of which was already initially in Pokrovsky’s project; further sketches were made by N.K. Roerich, and it was made in the famous workshop of V.A. Frolov. Above the entrance to the chapel is “The Savior Not Made by Hands,” also from Roerich and Frolov.

The panels were delivered to Parkhomovka on shields and installed in 1907, after which the church was solemnly consecrated. This, by the way, completely refutes the legend circulating on the Internet that the temple stood unconsecrated for two years due to the “uncanonical architecture” - it is not here. Innovation - yes, is present, as well as the symbolism of details characteristic of the Art Nouveau era. Various Christian symbols, as well as, perhaps, simply decorative details, are on each edge of the light drum, but some go so far as to see “silhouettes of Pokrovsky’s future buildings” there.

In general, the church is very interesting to look at. From the southeast it appears not to be a basilica at all, but almost centric.

And here - from another corner, where there is no longer a chapel.

But there is a curious outbuilding with an entrance to the basement.

And on the sides of the bell tower there are two more belfries (now they are without bells).

The temple inscription is a white stone plaque on the western façade.

Details of the northern façade.

And here is a fragment in which a “European accent” is clearly felt.

Let's move on to the interiors. The temple is almost not painted. Roerich made a sketch for painting the apse, but he did not go ahead. The existing painting was done by V.T. Perminov. The iconostases and all the utensils were designed by Pokrovsky. Only the dismantled chapel iconostasis, some icon cases and some other small items (lantern, etc.) have survived. During Soviet times, there was a warehouse in the temple. The restoration was carried out back in the 1980s, but was not completed. Now it belongs to the “independent” UOC-KP.

Drawings and drawings of the temple were published during its construction. Then photographs were added to them.

So the temple immediately became widely known in architectural circles and became an object to be imitated. You can read about this, as I already said, in my article published in the collection “Architectural Heritage”

The village of Parkhomovka, Krasnokutsk district, Kharkov region, surprises with its richness of events, history and famous people...

In the village of Parkhomovka you need to see:

1. Parkhomovsky Museum in the count's estate (this is a huge school museum with paintings, icons, sculptures, which has exhibits from both the Hermitage and the Pushkin Museum. An exact copy of Nefertiti's head was brought from Dresden. There are drawings by Taras Shevchenko, Aivazovsky).

2. Holy Protection Church, which is 200 years old.

3. The house where Kazemir Malevich lived as a teenager.

4. Sugar factory, built in the last century by Kharitonenko.

Drive from Kharkov along the Kyiv highway to Krasnokutsk through the village of Murafa (approx. 90 km). A tour of the museum must be booked in advance.

In the 17th century, the owner of the Parkhomovsky farm was Colonel Perekrestov. Under Peter I, the farm along with the peasants was taken away from the colonel in favor of the state. In 1769, Catherine II donated the village of Parkhomovka, again along with the peasants, to the lieutenant general of the Akhtyrsky garrison, the hero of the Russian-Turkish war, Count Podgorichani. The half-Italian Podgoricani built an estate in the style of Italian palazzos and died.

At the end of the 19th century, it was acquired by Pavel Gerasimovich Kharitonenko, under whom a sugar factory appeared in the village - another one in his “sugar empire”. And with it a hospital and a school for the children of workers. These buildings still exist today and serve the same functions. Once upon a time, in the school hall, Kharitonenko’s wife gave Christmas gifts to local children. This hall is still the venue for all ceremonial events.

For reference. Ivan Gerasimovich Kharitonenko, owner of lands in the Kharkov and Kursk provinces, sugar broker for Grigory and Stepan Eliseev. At the beginning of the twentieth century, the Kharitonenko family owned seventy thousand acres of land with 11 estates, dairy farms, gardens, sugar factories and rented 30 thousand acres. In Sumy, where Ivan Gerasimovich's factories were located, sugar production increased 18 times from 1860 to 1886. His son Pavel helped artists and architects. In his Moscow mansion he collected an excellent collection of paintings by Kramskoy, Polenov, Surikov, Nesterov, Repin, Vereshchagin, Malyavin, Aivazovsky, and Western European masters. A collection of icons, including works from the 15th-16th centuries, was kept in Natalievka. The creation of an orphanage (up to 90 thousand rubles and a capital of 150 thousand for its maintenance), a dormitory for students of Kharkov University (100 thousand rubles), a church in the village of Nizhnyaya Syrovatka (70 thousand rubles), etc. owe their existence to Kharitonenko’s large donations.

After the war (the Great Patriotic War), Afanasy Fedorovich Lunev came to Parkhomovka. He worked as a history teacher in a rural school and became the founder of the famous museum in Parkhomovka. Afanasy Fedorovich was born in the Kursk province, and his family comes from the Arkhangelsk Pomors. In parallel with his teaching work, he was finishing his studies - he was a fifth-year part-time student at Kharkov University. There I met a colleague, also a rural teacher, Yakov Krasyuk. It turned out that Krasyuk had already created a museum at his school, the idea of which Lunev was just beginning to form.

It was a historical exhibition covering the period from ancient centuries to the last war, with reference to this particular area, to a specific village. This was in 1954. It so happened that Yakov Krasyuk died suddenly, and Lunev simply could not help but continue his work. He transferred the idea to Parkhomovka, managing to interest students in the history of his native village. The children rushed to collect all sorts of antiquities, gradually expanding the search circle to neighboring villages. The adults joined in.

This is how the first exhibits began to appear - a stone ax, arrowheads, ancient chain mail, ancient weapons. The first exhibition was opened in the school classroom on September 1. Afanasy Lunev also brought his personal acquisitions here - paintings by Yaroshenko, Argunov, sketches by Karl Bryullov. But where do the paintings cost a fortune come from?.. Lunev had a passion for collecting even before the war. But at first he was only interested in books. And having settled in Parkhomovka, he became acquainted with the Kharkov flea market at the Blagoveshchensky market (in Kharkov - on Blagbaz). There was everything here, and in the most unexpected combinations. Antique porcelain, primus needles and rare books could be sold next to the nails

Most people were all about their daily bread, so art objects were sold cheaply. At this flea market, Lunev purchased the paintings “Caucasian Landscape” by Yaroshenko and “Collecting Algae in Brittany” by Gomez, and there he once came across watercolors by the brothers Alexander and Albert Benois. The old seller also asked: “Tell me, will these paintings hang in a good house?” Lunev assured him that it was appropriate. The school museum was a very good home for these watercolors and more.

Once, at Parkhomov’s school, he organized an exhibition of reproductions of paintings from the Tretyakov Gallery. The whole village attended. Feeling people's interest, Lunev decided on a very daring enterprise. He wrote letters to famous artists and heads of the country's leading museums asking them to help the rural school museum with exhibits. He motivated the requests by the fact that thousands of works of art are stored in museum storerooms and no one sees them. The Kharkov Art Museum was one of the first to respond, and then it went from there. A kind of chain reaction arose. The more artists, collectors, and cultural figures learned about the museum in a rural school, the more exhibits appeared. Lunev has long conceived a special program of aesthetic education for schoolchildren, a kind of optional studio. Such a studio was born and received the name "Rainbow". Schoolchildren study world art history there. History and art have always been inseparable for Lunev.

Much has been written about the teacher Lunev. In 1990, the Moscow publishing house Pedagogika published the book “How Many Colors Does the Rainbow Have,” or the Days of Afanasy Lunev, by Leonid Lerner and Ernst Markin in an 80,000th edition. It was swept off the shelves. Gradually, connections were established with the Hermitage, the Pushkin Museum, the Tretyakov Gallery, and other leading museums in the country. A new generation of Lunev's students visited the Dresden Gallery. And by the end of the 90s, about 1.5 million people from all over the world visited the Parkhomov Museum. Schoolchildren studying at the Rainbow studio can conduct excursions themselves quite competently. By the way, the collection itself was not always located in the current building.

When the museum first gained fame, it was located in a barracks, in dark and cramped rooms. It was first shown on television in 1963. A film crew from Kharkov showed up. The director looked around the barracks and said: “No, you can’t film here.” The secretary of the district committee who was present was very upset, and Lunev suggested moving the exhibits to the former mansion, where space had just become available. In order not to lose face, the local authorities, before the show, decided to temporarily house the collection in a former landowner's house, an old mansion of the 18th century. Eight rooms on the first floor were given over to the exhibition. And when filming ended, the determined Lunev refused to remove the collection from the premises, which was truly worthy of such an art collection. When the local authorities began to “attack”, they promised to inform the regional committee that, with the knowledge of the district authorities, the “linden” was shown on television. There was no scandal. The collection remained in the mansion, and in 1987 the second floor of the building was given over to the exhibition.

In the late 80s, the museum was robbed. The thieves took away 37 unique works, among them Lunev's favorite - "The Golden Headed Boy" by Argunov, as well as ancient icons and paintings by Aivazovsky. Of all the stolen items, only three things were returned to the museum. After the incident, two police posts and an alarm system were installed in the museum.

The only school museum of this scale in the USSR was not protected until it received state status in 1987, becoming a department of the Kharkov Art Museum. Great assistance in replenishing the museum was provided by the State Museum of Fine Arts. Pushkin, Hermitage, Moscow Kremlin Museum. The artists donated not only their own, but also the works of their friends. For example, Favorsky sent his engravings to many countries around the world, and in exchange the artists sent their works - he donated all this to the museum.

Prominent people of the Krasnokutsk region

Kazimir Severinovich Malevich. Malevich spent his youth in the small village of Parkhomovka, Krasnokutsk district, Kharkov region. It was there that he first picked up a brush.
It was because of the sugar factory that the Malevichs moved to the Kharkov province. In 1890, Pavel Kharitonenko undertook to reconstruct production in the village of Parkhomovka, for which he invited the best craftsmen from all over the Russian Empire. Among them was Casimir’s father, who was considered a first-class sugar maker.

The house where Kazemir Malevich lived in Parkhomovka

It is assumed that the Malevich family settled in the manager’s house, which is still located on the territory of the plant, says the manager. - Kazimir was sent to a five-year agricultural school. The father dreamed that his son would master his craft. The agricultural school, in fact, became the artist’s first systematic education, and before that he studied at home from time to time with different teachers.

Unfortunately, all the school's archives burned down during the war. But in Parkhomovka there lived a man named Dubinka, who worked at the plant for many years. So he recalled that from 1890 to 1895 he studied with the manager’s son, a Pole with the strange name Kazimir. According to Dubinka, he was a very ordinary teenager.

Many years later, Kazimir will write in his autobiography that in Parkhomovka he received a powerful impetus to pursue art, having seen enough of women painting walls, stoves, shutters, depicting strange animals, bizarre flowers, and various ornaments. And one day, picking up a brush, he himself painted a bright cockerel in the corner of the freshly whitewashed hut. So the young man decided on his calling in life.

in 1904, Malevich came to Moscow, entered the studio of Fyodor Ivanovich Rerberg (1906-1910), and also began taking painting lessons from professionals. The first success came in 1912 at an exhibition with the shocking title “Donkey’s Tail”. In fact, Malevich was talked about in not only artistic circles, but also in the general press after the next exhibition at which he showed Suprematist paintings. Suprematism comes from the Latin word "supremus", which means highest. Since then, Malevich began to be considered only an artist of Suprematism and even the artist of one painting, “Black Square”. Malevich partly supported this fame himself. He believed that the Black Square was the pinnacle of everything.

One of the first Russian aircraft designers and pilots was born in Parkhomovka in 1884. Stepan Vasilievich Grizodubov. He graduated from the Kharkov Technical Locomotive School and became a master of electromechanical craft. In 1908 he tried to build a copy of the Wright brothers' airplane. Having no drawings, he used to compile them pieces of film he bought with footage of the flights of the Wright brothers' airplane. His first plane failed to take off. Despite the failure, Grizodubov continued his work and his fourth aircraft, built by him in 1912, flew. In 1915-1916, Grizodubov served in the army, where, after studying at the Petrograd Aviation School, he received a diploma as an aviator pilot. He lived almost his entire life in Kharkov. Stepan Vasilich's daughter Valentina Grizodubova, one of the first pilots, Hero of the Soviet Union, followed her father's path.

Parkhomovka, Kharkov region

Church of the Intercession, 1808. The village of Parkhomovka is part of the ensemble of the estate of Count Podgarichan. Built according to the architect's design. P. A. Yaroslavsky 1808 in the style of classicism, brick, plastered, cross-shaped in plan, single-dome. A special feature of the structure are two bell towers located along the longitudinal axis above the eastern and western branches, which is a unique interpretation of the three-domed temple, an echo of Ukrainian architecture of the 17th century. Paintings on the sails and above the main entrance have been preserved.

But the first wooden and thatched church in Parkhomovka was built back in 1704. In 1769, by order of Catherine II, Parkhomovka became the property of Count Podgorichani, who, in place of the old one, built a new wooden five-domed church with three altars. Later, his wife Varvara Romanovna Podgorichani (née Shidlovskaya) decided to build a stone temple near her estate. One of the elevated places in the village was chosen for construction, thanks to which the church was perfectly visible and adorned the landscape at the entrance to Parkhomovka from all sides.

The construction of the temple took place under the direct supervision of the nephew of the author of the project, Vasily Ivanovich Yaroslavsky. The stone single-altar church was consecrated by the first bishop of the Kharkov diocese, Christophor, in 1808 on the day of the Intercession of the Most Holy Mother of God. In 1935, the Temple lost the semicircular colonnade on the western facade, and the bell tower was completely destroyed, but the temple continued to function until the early 1960s. After the church was closed, its building was used as storage space, and then was empty, subject to attacks by vandals, and gradually collapsed.

In 1993, the temple began its second life under the leadership of the rector of the temple, Priest Nicholas. Father Nikolai breathed life into the sick, crippled church; I have never seen so many icons in any church in Kharkov; enormous restoration and construction work was carried out to restore the building. Thanks to charitable support, it was possible to completely restore the interiors of the church, repaint it, carry out external restoration work, and carry out landscaping of the territory. One of the first to support the Parkhomovsky rector in the restoration of the temple was Moskalenko L.I., Kravchenko N.P., Lisenko E.P., Lunev A.F., Avakov A.B., Feldman A.B., Chagovets V. N. and many others.