Introduction

Fine art has accompanied humans for many millennia. Each historical epoch has its own reflection in painting. The development of Belarusian art also took place in close connection with the history of the Belarusian people, with the history of Belarusian statehood.

The division of the Polish-Lithuanian Commonwealth at the end of the 19th century and the annexation to the Russian Empire inevitably influenced Belarusian art. Belarus became the outskirts of a huge state, where any manifestations of national culture were suppressed. In 1832, the University of Vilna, the main center of art education for Belarus, was closed. Any young man who wanted to get a higher education, and not only in the field of arts, had to go to higher educational institutions in St. Petersburg and Moscow, losing contact with his homeland, contact with national traditions and culture. In 1840, the use of the term «Belarus» was prohibited. It was officially called the «North-Western Territory».

It is for these reasons that the legacy of 19th-century artists — natives of Belarus — is included in the context of the artistic history of Russia, Poland, and Lithuania. Large collections of their works are in the collections of national museums in Warsaw and Krakow, in Vilnius, in Moscow. Nevertheless, works of art from Belarus of the 19th century in the National Art Museum of the Republic of Belarus make it possible to show in detail the continuity of the historical development of the country's art, to identify the figures of many remarkable representatives of painting and graphics of Belarus of this century.

For many years, the history of Belarusian art was viewed solely in relation to Russian culture. Because of this, many prominent names have been forgotten.

Hypothesis. Studying the history of Belarusian art of the 19th century will help to understand the historical situation of that time. The national art collection can be supplemented with works that are mistakenly considered Polish or Lithuanian.

Purpose of work — to conduct a study on the life and work of the artist of the second half of the 19th century. Alfred Romer.

The following were set to achieve the goal tasks:

1. Consider the historical situation of the 19th century.
2. Study the features of Belarusian art of this time.
3. Collect and analyze the material available in libraries and museums related to Alfred Romer.
4. Based on the results of the study, prepare a plan for a tourist route «In the footsteps of Alfred Romer».
5. In order to interest schoolchildren in studying the history of Belarus and the history of Belarusian art, to develop game manuals.

1. History of Belarusian Fine Arts, 19th Century

The development of Belarusian fine art in the 19th century was directly related to the historical events that took place on Belarusian lands. The partitions of the Polish-Lithuanian Commonwealth, political repressions, and the increasing influence of Russian culture inevitably influenced Belarusian culture. After the closure of the University of Vilna, young people received education, including painting, either in Moscow and St. Petersburg, or in Western Europe. Naturally, they were influenced by the style, direction and teachers of their school.

However, despite many difficulties, political circumstances, the development of Belarusian art did not stop. Today, thanks to the work of 19th-century artists, we can admire paintings on historical themes, beautiful portraits, and amazing landscapes. Considering the paintings of this time, we can get acquainted with the everyday life of people.

2. Life and work of Alfred Romer

Alfred Romer was born during a difficult period. The uprising against the alien and unjust tsarist authorities had just thundered. Loyal patriots of the Fatherland lived in the hope of restoring the independence of the Commonwealth. In the family of Edward Romer in 1832, a son, Alfred, was born. This man had a difficult fate. When he was a year old, his mother died. The tsarist Russian authorities sent his father and grandfather into exile. For the first time, he was raised by his grandmother. But, despite all the hardships, he grew up surrounded by love and care. Their family loved and appreciated art and literature. From childhood, Alfred learned to love his history, culture, and began to draw with great enthusiasm. He received his first painting lessons from the Vilna artist Kanut Rusetsky. In 1863, when a new uprising broke out, the already grown-up Alfred fully supported the rebels. Krevo — Alfred Romer's estate — became a reliable place of shelter and rest for the participants of the uprising, a place where one could always get help.

The tsarist authorities did not skimp on punishments, wanting to suppress any desire for independence in the lands they seized. Alfred Romer was arrested and imprisoned in the Dinaburg Fortress. He could have been hanged or sent into distant exile, like many participants in the uprising. But thanks to the efforts of Alfred Romer's family, he was released. Probably, in order to avoid a new arrest, Alfred went to Europe. The years of travel were not in vain. He studied painting in Germany and Italy. Exhibitions of his works were held in Munich, Paris, and Krakow.

In 1874 Alfred returned to his homeland and married Wanda Sulistrovskaya. They spent almost ten years on their Korolinovo estate (modern Postavy district, Vitebsk region). It is believed that these years were the most fruitful in the work of Alfred Romer. He painted portraits, engravings, and picturesque compositions about the life and life of the Belarusian people. Participated in the painting of Orthodox and Catholic churches. He created magnificent medals. Alfred Romer was not only an artist but also a distinguished scholar. He prepared a study on Slutsk belts, collected ancient manuscripts and documents. He studied the history of the Vilna School of Arts. In the 80s of the 19th century he worked at the Academy of Sciences in Krakow.

He died as a result of a tragic accident in 1897, from an infection that developed from a small wound on his arm. He is buried in the family tomb in Trakai (Lithuania).

After the artist's death, his daughter Elena calculated that he had created more than 200 works (63 paintings, 81 pastels, 41 medallions, 9 sculptures, several dozen drawings, landscapes and watercolors, copies of icons and portraits). His landscapes, engravings, and portraits are interesting not only as works of art, but also as a historical document. After all, very often in his paintings he depicted the daily life of Belarusian peasants, architectural monuments of Belarus, which have not survived to our time.

Currently, there are two unique paintings by this artist in Belarus. One in the Church of the Assumption of the Virgin Mary in Pinsk. It is also called the Pinsk Madonna. The Mother of God is depicted in rays of light on a blue background. Alfred Romer painted this icon specifically for the Pinsk church. It is believed that the artist captured a simple Pinsk girl in the painting.

The second painting, “Jesus with the Infant,” is located in the village of Komai, not far from the Romer estate. It is believed that this was the artist’s will, that the painting should be kept in the church. Therefore, numerous buyers who would like to acquire this work still leave empty-handed. Here, in the church, a memorial plaque has been installed in honor of Alfred Romer. One of the streets of the village is named after the famous artist. The children's art school in the city of Postavy is named after Alfred Romer.

Large collections of Alfred Romer's works are currently stored in the National Museum of Lithuania in Vilnius and the National Museum of Warsaw. In Belarus, information about the famous artist has to be collected piece by piece. For example, the Museum of History and Religion in Grodno houses a collection of photographs from Alfred Romer's personal album. At the exhibition, which took place several years ago, photographs from the artist's personal album were presented. The camera lens stopped time for a moment and captured relatives, friends, colleagues of the painter, acquaintances and strangers. Flipping through the pages of this unique document, you seem to fall into the atmosphere of the 19th century.

Thus, we can say with confidence that Alfred Romer is another outstanding personality who should truly enter the national history of Belarusian fine art.

Conclusion

Belarusian art of the 19th century is rich in outstanding names. The work of such artists as Ya. Damel, I. Oleszkiewicz, V. Vankovich, I. Khrutsky, V. Dmakhovsky, N. Orda, A. Goravsky, N. Silivanovich, K. Alkhimovich is rightfully the decoration of the national collection of paintings.

My research project was based on working with historical literature from the collections of the National Library, with materials from the Grodno Museum of History and Religion, and with sources published on the Internet. Dmitry Alekseevich Monich, a leading employee of the National Art Museum of the Republic of Belarus, provided great assistance in understanding the development of Belarusian art in the 19th century.

The development of Belarusian art in the 19th century was directly influenced by the historical situation of that time. After the uprising of 1863–1864, the tsarist government turned towards rigid Russification. Of course, a close connection with Russian culture contributed to the formation of Belarusian culture. But on the other hand, it hindered the development of its national characteristics. Belarusian artists of the 19th century can be conditionally divided into two groups: those who studied in the Russian Empire (St. Petersburg, Moscow), and those who received education in Western Europe (Krakow, Munich).

Alfred Romer was a participant in the uprising, studied in Western Europe. Four generations of his family suffered first from the tsarist, then from the Soviet government. Perhaps this fact also influenced the fact that the name of this artist was forgotten. In the course of my “detective searches” I came to the conclusion that studying the work of Alfred Romer will enrich the history of Belarusian art of the 19th century. Collecting piece by piece information about the life and work of the artist, I developed the tourist route “In the Footsteps of Alfred Romer.” And also my version of the Memo game popular among many — “Memo: Alfred Romer’s Heritage”, together with my dad we came up with and drew a small comic about Romer.

I believe that my research project, dedicated to the search for a forgotten Belarusian artist, will be of interest not only to local historians but also to anyone who loves the history of their country.

Appendix

Tourist route «In the footsteps of Alfred Romer»

1. Minsk — National Art Museum, sightseeing tour, collection «Belarusian art of the 19th century».
2. Korolinovo village, Postavsky district, Vitebsk region — Alfred Romer estate, an architectural monument of the 19th century. Visit to the cemetery where the artist's wife, Wanda Sulistrovskaya, is buried.
3. Komai village — St. Peter's Church St. John the Baptist, acquaintance with the painting «Jesus and the orphan», memorial plaque in honor of A. Romer, A. Romer Street.
4. Postavy — an exhibition dedicated to A. Romer in the regional museum of local lore, a visit to the children's art school named after A.Romer.
5. Davgopils (Latvia) — Dinaburg Fortress tour, where A. Romer served his sentence for participating in the uprising of 1863–1864.
6. Vilnius (Lithuania) — the city where the artist was born, sightseeing tour. Visit to the National Museum and get acquainted with the collection of paintings by A. Romer.
7. Trakai (Lithuania) — Church of the Virgin Mary, burial place of A. Romer, family tomb.
8. Vishnevo village, Smorgon district, Grodno region — St. Tadeusz Church, the wedding place of Alfred Romer and Wanda Sulistrovskaya.
9. Grodno — visit to the Museum of History and Religion, acquaintance with the collection of photographs from the personal album of Alfred Romer. A visit to Lunno manor (Mostovsky district, 38 km from Grodno), the estate of Edward Romer, brother of Alfred Romer, where this collection was found.
10. Pinsk — Church of the Assumption of the Virgin Mary, acquaintance with the painting by A. Romer «Pinsk Madonna».
11. Minsk — homecoming.

References:

1. Драўніцкі І. Мастак з дынастыі Ромераў // Наша вера (Мінск). — 2013. — № 3 (65).
2. Гісторыя беларускага мастацтва. — Т. 3: Канец XVIII — пачатак XX ст. — Мн., 1989.
3. Памяць: Гісторыка-дакументальная хроніка Пастаўскага раёну. — Мінск, 2001.
4. Крэпак Б. «Спружына экспрэсіі Альфрэда Ромера» // http://www.kimpress.by/index.phtml?page=2&id=5971&mode=print- Дата доступа: 20.02.2019.
5. Літвіновіч А. Ромер Альфред // Энцыклапедыя гісторыі Беларусі. — Т.6. — Мн., 2001. — С. 120–121.
6. Белорусское искусство XIX в. Национальный художественный музей Республики Беларусь // https://www.artmuseum.by/ru/koll/bisk19.html Дата доступа: 17.01.2019.
7. Kamolowa D. Romer Alfred // Polski Slownik Biograficzny. — B. 31. — 1988/89, S. 630–632.
8. Romer A. Wspomnienia z r. 1864–1865 // Tygodnik illustrowany, 1897.