Repin's student, a peasant, an emigrant, and the "Paganini" of landscape: artist Stepan Kolesnikov

Contents:

• From a delivery boy to a student at the best art school
• How teachers taught Kolesnikov to see the world
• How Kolesnikov conquered Munich and received gold from Nicholas II
• Fame at home and abroad
• Foreign travels and the "Asian stage"
• War in the paintings of the landscape artist
• Escape to Serbia, work as a loader and the loss of Russian heritage
• How a Russian artist became the best painter in Serbia
• Homesickness in Kolesnikov's Paintings
• The Last Years: How Illness Gradually Robbed Kolesnikov of His Brush

From a delivery boy to a student at the best art school

Stepan was born in 1879 in the Slavyanoserbsk district of the Russian Empire, where immigrants from Serbia, including Serbs, Vlachs, and Montenegrins, as well as a significant number of Moldovans and Bulgarians, had lived for over a hundred years. The artist had deep roots in Serbia: his mother was a Serbian from the Stefanović family who married a Russian peasant.

Stepan showed a passion for drawing from an early age, beginning with collecting and sketching stuffed birds. He acquired his first artistic skills thanks to visiting icon painters—as painters and iconographers were called in the past. In a poor family of four children, only Stepan and his younger brother Ivan were allowed by their father to abandon household chores for the sake of art. Stepan strove to develop his talents and immerse himself in the world of painting, which led him to create unique works.

Stepan Kolesnikov's talent was first noticed at the age of 17, when a provincial official, while on an inspection trip, observed a volost messenger creating a landscape. This event became a turning point in his life: Kolesnikov's works were submitted to the All-Russian Exhibition in Nizhny Novgorod, and the zemstvo awarded him a stipend. Soon Stepan began studying at the Odessa Art College, one of the most prestigious educational institutions of the empire, which opened new horizons in the world of art for him.

How Teachers Taught Kolesnikov to See the World

Mentor Kiriak Kostandi had a significant influence on Kolesnikov's development as an artist. Together with other teachers, he transformed the educational process, replacing the outdated method of drawing from original paintings with a meticulous study of nature. Kostandi organized plein air painting sessions and taught students to carefully observe the colors of nature, noting how light alters the colors and shapes of objects. This approach contributed to the development of a deep understanding of painting in students and the ability to convey the subtlest nuances of the surrounding world on canvas.

Kolesnikov developed the ideas of his mentor, learning to sense the poetry of natural motifs. He masterfully conveys the rhythm of color and the pure impression of landscapes. He pays special attention to nature, which allows him to create unique and expressive works of art that deeply reflect the beauty of the world around him.

Where did you write this text?

Not here—such strength won't grow in Finnish swamps. It requires sun and freedom—space. In the Penza region, on the Khoper River, oaks grow in excessively wet soil, but here, in drier places, they have curved shapes, hollows, and cracks. These trees, with their wrinkled bark and intricate curves, are a true beauty. Finding such an oak is worth the effort—you need to travel to many places and spend time.

A dialogue between a customer and Stepan Kolesnikov is captured in the memoirs of artist Vladimir Milashevsky. This conversation, described in an article by art historian Tatyana Podstanitskaya, illustrates not only Kolesnikov's artistic vision but also his unique approach to interacting with clients. Milashevsky's memoirs reveal important aspects of creativity and the commercial side of art, emphasizing how personal relationships influence the perception of works. This dialogue demonstrates how art can unite people, creating unique moments of communication and understanding.

Stepan studied and was friends with future art stars such as Isaac Brodsky, Mitrofan Grekov and David Burliuk. At the turn of the century, he married Irina Popandopulo, the daughter of a Greek landowner. Their marriage was dramatic: Stepan "stole" Irina from Grekov, threatening to kill his rival. At 22, the couple had a daughter, Lyuba, and then a son, Fyodor. However, Kolesnikov would soon leave the family, leaving his relatives alone in a foreign land.

How Kolesnikov Conquered Munich and Received Gold from Nicholas II

Stepan completed his studies at the school with honors and entered the Imperial Academy of Arts without exams. Here, he quickly earned a reputation as a talented and hard-working student. His mentors were the renowned artists Alexander Kiselev and Ilya Repin, who highly valued Kolesnikov's work. Repin noted that he always admired the extraordinary beauty of the gray, weathered branches depicted in his landscapes. Stepan's work reflects a deep understanding of nature and a mastery of conveying its subtleties, which makes his work unique and significant in the art world.

Dear Stepan, I apologize for forgetting your patronymic. I have been enjoying photographs of your work all morning. You are truly an excellent artist, and your creations are impressive.

Your amazing paintings have made a huge impression on me! I am absolutely delighted with your photographs. What scale! What skill! How much aesthetics! Art in its purest form!

Ilya Repin, an outstanding Russian artist, left behind many letters that reflect his thoughts, feelings, and creative process. In these letters, he shares his observations about life, art, and the world around him. Repin describes in detail his artistic intentions, the difficulties he encountered while creating his works, and his views on contemporary society.

Repin's letters are a valuable source of information about his life and work, allowing us to better understand the artist and his influence on the development of Russian art. They contain reflections on the significance of art in human life and its role in society, as well as how art can be a means of expressing deep feelings and emotions.

By studying Ilya Repin's letters, we can see how he sought inspiration, analyzed his work, and communicated with other artists and art figures. These letters not only document his personal journey but also serve as a testimony to the era in which the great master lived and worked.

Read also:

To attract attention to your content, it is important to consider keywords and phrases that potential readers may use when searching for information. Optimizing text for search engines is a key aspect of successful website promotion. Use relevant terms to improve your content's visibility in search engines. Keep text structure in mind: use headings and subheadings to simplify readability and improve navigation. Including internal and external links will help improve your site's authority and increase the time users spend on the page. Create unique and valuable content that answers your audience's questions, and you will see interest in your resource grow.

Ilya Repin's Illustrations That Are Familiar to Everyone

Ilya Repin is one of the most famous Russian artists, whose paintings have left a significant mark on world art. His works reflect deep emotions and social issues of his time. Many of his paintings have become symbols familiar to a wide audience. In this article, we will look at ten of Repin's most iconic works that continue to inspire and delight viewers.

One of his most famous paintings is "Barge Haulers on the Volga," which conveys the hard work and courage of ordinary people. In "The Zaporozhian Cossacks Write a Letter to the Turkish Sultan," Repin masterfully conveys the spirit of freedom and national identity. "They Didn't Expect Him" ​​demonstrates profound human emotions, and "Ivan the Terrible and His Son" touches on themes of power and tragedy.

Other significant works include "The Religious Procession in Kursk Province," which reflects folk traditions, and "Sadko," filled with musical and cultural symbolism. "The Bengal Family" demonstrates Repin's mastery of conveying emotion through portraiture.

Repin's paintings are not only valuable from an artistic point of view, but also serve as important historical documents reflecting the life and customs of 19th-century Russia. His legacy lives on and inspires new generations, making his works an indispensable part of the country's cultural heritage.

His diploma work, the painting "Spring", became the starting point for his first fame. It was awarded the Academy Prize, won a gold medal at the exhibition in Munich and brought the artist the title of honorary citizen. In recognition of his talent, Nicholas II presented him with a gold cigarette case with the inscription "Let it be your guiding light!" The St. Petersburg press actively covered this event, emphasizing the work's significance and its impact on the city's artistic life. The painting "Spring" not only cemented the artist's status as an outstanding master but also became a symbol of a new stage in his career.

The young artist's talent harmoniously combines mastery and virtuosity. His paintings are imbued with a sincere poetic mood and musicality, captivating viewers and creating a unique atmosphere. Each work reflects profound feelings and emotional depth, allowing viewers to immerse themselves in the world of art.

In her article, art historian Tatyana Podstanitskaya emphasizes the importance of a thorough understanding of art. She suggests considering how various artistic movements influence the perception of cultural values. In analyzing works of art, Podstanitskaya emphasizes the role of historical context and individual perception. This allows not only for a better understanding of the artists but also for a greater appreciation of how art reflects social and cultural changes. The importance of such research lies in the fact that it helps expand horizons of perception and enriches cultural experience.

Unfortunately, the painting is not available to the public, as the original is kept in the Dnipropetrovsk Art Museum.

Fame at Home and Abroad

By the age of 31, Kolesnikov had become famous both at home and abroad. His paintings are actively featured in international exhibitions in cities such as London, Venice, and Rome, and resonate with collectors, including grand duchesses. The artist's works are admired not only by art connoisseurs, but also by the general public, which confirms their popularity and high artistic value.

Stepan Kolesnikov, a confident merchant, runs into the dining room. Remove the obstacles, small fry! He does not approach the cash register like everyone else, but sits straight down at the table, his elbows outstretched. His head is covered with light-brown curls, and a light beard adorns his chin. Like a sure-fire roulette wheel, he tirelessly earns money. His works are on display at the exhibition: eight, nine, ten "sold" labels under each landscape. He must tirelessly repeat this success, and the money will endlessly fill his pockets. His luck is breathtaking!

— What strength you have! — an admirer exclaims admiringly. — I have one of your sketches. All the fuss, financial reports and business, but one only has to tear oneself away from the table and look at your painting, and one immediately feels: yes, I am a Russian!

The memoirs of the artist Vladimir Milashevsky, presented in an article by art historian Tatyana Podstanitskaya, represent a profound analysis of the master's creative path and artistic vision. In his memoirs, Milashevsky shares not only personal experiences but also reflections on the influence of time and culture on his work. He describes how life events and his surroundings shaped his style and approach to painting. These memoirs are an important contribution to understanding contemporary art and its development, and also highlight the importance of cultural context for the artist. Tatyana Podstanitskaya's article helps to gain a deeper understanding of Milashevsky's legacy and his place in art history.

Kolesnikov worked with great enthusiasm with oil, gouache, and tempera. The artist's niece, Lyubov Geyrot, noted in her memoirs that Kolesnikov's landscapes were filled with bright sunlight, and the skies had a surprising azure hue, while the greenery was rich and vibrant. Kolesnikov's work is distinguished by a special atmosphere that allows the viewer to immerse themselves in the world of his bright and picturesque paintings.

Kolesnikov is fascinated by the theme of the transitional states of nature, especially during the changing seasons. She pays attention to unique trees with their distinctive intertwining branches, which makes them special. This is why she has been nicknamed "the Paganini of oak branches." Kolesnikova's works reveal a subtle perception of nature and its variability, which emphasizes the beauty and mystery of the surrounding world.

He had a unique style of painting snow - white and impeccably clean.

The painting «In the Old Estate» became a key work for the artist Stepan Kolesnikov, brought him recognition and the title of artist. This work opened up new opportunities for him, including the right to an internship abroad at the expense of the academy.

Thanks to the sale of several of my works, as well as the support of Their Imperial Highnesses Maria Pavlovna, Xenia Alexandrovna, and Olga Alexandrovna, I have accumulated an amount that allows me to go abroad. In this regard, I can refuse two-thirds of my assigned pension allowance.

Stepan Kolesnikov: a quote from an article by art critic Tatyana Podstanitskaya

Stepan Kolesnikov is an outstanding artist whose work is actively discussed in academic circles. In her article, art critic Tatyana Podstanitskaya examines key aspects of his work that reflect Kolesnikov's unique approach to art. Podstanitskaya focuses on his ability to convey emotion and the depth of human experience through painting.

Stepan Kolesnikov's work enriches contemporary art and opens new horizons for the analysis and understanding of artistic processes. It is important to note that his works continue to inspire both professionals and art lovers, promoting the development of cultural dialogue.

Foreign Travel and "Asian stage»

During his trip, Kolesnikov visited such countries as Germany, Italy, Belgium and France, and also visited Serbia for the first time. His creative activity covered Bessarabia, the Podolsk Carpathians and Bulgaria. Impressions from the collections of the Louvre and the Petit Palais had a significant influence on the artist: he sought to copy the works of the "greatest masters" in order to better understand their meaning, which is the most important foundation of art.

On the island of Capri, he met Maxim Gorky, and in Paris he joined the international association of painters "Leonardo da Vinci". In November 1912, his first solo exhibition was held at the Imperial Society for the Encouragement of the Arts, which attracted attention to his work. This exhibition became an important milestone in his career and contributed to the recognition of his art on the international arena.

Stepan Kolesnikov is one of the outstanding Russian artists whose work attracts attention and admiration. His paintings, executed with a high degree of mastery, annually fill collections and inspire imitators, becoming a fixture in a wide variety of galleries. Kolesnikov depicts the southern Russian black soil with lyrical inspiration, becoming a poet of the Don, Podolsk, Yekaterinoslav, Kherson, and Tauride fields. His unique style allows him to convey the atmosphere of the gray, rainy skies of Polesia, looming over birch groves and marshy roads. He conveys sadness and a genuine love of nature, becoming a poet of floods, melting snow, and quiet Russian rivers. His works evoke the spirit of spring, which, despite the chaos, always promises a bountiful harvest. Stepan Kolesnikov's work not only reflects the beauty of Russian nature but also conveys profound emotions, making him an important figure in contemporary art. Art critic Ieronim Yasinsky, in the November 6, 1912, issue of Birzhevye Vedomosti, expressed his thoughts on Russian art and its significance. His works became an important contribution to understanding the artistic process in the context of emigration. V. I. Kosik's book "Russian Emigration in Serbia in the 20th–21st Centuries" examines key aspects of the influence of Russian cultural tradition on the development of art in Serbia. Yasinsky emphasizes that emigration not only spread Russian artists throughout the world but also created unique conditions for their creativity, facilitating the exchange of cultural ideas and styles. This period became an important stage in the development of both Russian and Serbian cultures, which makes it relevant for study and analysis in the context of art history.

Kolesnikov was not only a talented painter, but also a skilled master of graphics and pencil drawing. Although he was more attracted to paint, he successfully used a variety of techniques to express his artistic ideas.

The artist's work is a unique combination of graphics and painting, which is especially noticeable in a number of his paintings. This interaction of two artistic disciplines creates original visual images and attracts the attention of the viewers.

At 34, Kolesnikov embarked on a significant journey to He traveled by camel to Turkestan and China for visual enrichment. In the years following this trip, Asian themes began to appear in his works, contributing to his growing popularity. Magazines actively published reproductions of his paintings, inspired by motifs from distant lands. Most of Kolesnikov's works, reflecting Eastern themes, were distributed among museums and private collections, which testifies to the high interest in his work and the influence of Eastern culture on his artistic style.

War in the paintings of the landscape artist

With the outbreak of World War I, Stepan was exempted from military service thanks to his status as a state scholarship recipient. Nevertheless, he actively participated in military events as an artist, going to the front to create paintings. Stepan continued to follow his creative principles, choosing for his works not grandiose battles, but intimate scenes depicting ordinary soldiers resting at a halt or celebrating Easter.

The artist's paintings were published in various magazines and exhibited at a charity exhibition entitled "Artist to Soldier". Art critics highly praised his works, which testifies to the significance and artistic value of his work.

Stepan Kolesnikov, remaining a landscape painter, gradually moved on to genre painting, giving his works a battle coloring. He perfected his technique for painting and drawing horses, achieving a level of mastery that allows him to transcend decorative painting and create deeper images. The artist visited the rear of the war, which is reflected in his works. Particularly expressive are the two Siberian riflemen in papakhas, depicted against the backdrop of an autumn forest, lending the painting vitality and dynamism. N. N. Breshko-Breshkovsky was a prominent art critic who had a significant influence on art in the first two decades of the 20th century. His works contributed to the formation of a modern understanding of art and became an important milestone in the development of art criticism in Russia. On the website russianartcollection, you can find information about his contribution to art, as well as his analytical articles and reviews, which continue to inspire artists and art historians to this day. Breshko-Breshkovsky not only analyzed works of art but also actively participated in cultural debates, making him one of the key figures of his time.

Escape to Serbia, Work as a Loader, and the Loss of His Russian Heritage

Kolesnikov experienced two revolutions, both of which he viewed diametrically opposedly. He accepted the events of 1905 but rejected the 1917 revolution, "timidly becoming a monarchist" and supporting the White movement. In 1917, hoping to wait out the chaos, he and his family went to his dacha in Odessa, but ended up right in the middle of the events.

The Kolesnikov family left Russia, first moving to Turkey, then Greece, and in 1920 settling in the Kingdom of Serbs, Croats, and Slovenes, now Serbia. Some of the artist's works were sent via Warsaw to Belgrade, but these paintings were lost en route, and only a list of them survived. A similar fate befell the second part of the collection, which had been in Kolesnikov's studio in Andreyevka since the beginning of World War I. Art historians speculate that the collection was lost during the revolution, and again only a list of works remains. Thus, the Russian legacy of Stepan Kolesnikov's paintings has practically not survived, which underscores the loss of cultural heritage.

In Belgrade, Stepan purchased a small house opposite the Jevremovac Garden at 81 Knez Pavla Street, now called Despot Stefan Street. While the forty-year-old artist remained virtually unknown, he was forced to work part-time as a loader at the train station. Nevertheless, Stepan did not abandon his creativity: two of his watercolors were displayed in the window of a local bookstore, and an advertisement for orders for his works appeared nearby.

How a Russian Artist Became Serbia's Best Painter

In the 1920s, Serbia emerged as an important hub for Russian artists, offering unique creative opportunities. The country experienced a significant need for skilled craftsmen, especially in the fields of painting and church restoration. Competition among artists was low, as most émigrés chose to settle in Paris. This created ideal conditions for Russian artists, allowing them to realize their talents and contribute to Serbia's cultural heritage.

Kolesnikov, as in his homeland, quickly gained recognition in Belgrade. An exhibition of his works was held there as early as 1922. He began teaching at the Russian-Serbian Gymnasium and actively collaborated with the National Theater as a set designer. Kolesnikov's talent was highly recognized by King Alexander I, who commissioned him to restore medieval monasteries and paintings. For these achievements, the artist was awarded the Order of Saint Sava.

Kolesnikov's works became a symbol of prestige, and no home of the Serbian elite was considered complete without his landscapes. The culmination of his creative work was the monumental mural "Goddess Thalia on a Quadriga" in the National Theater, which took five years to complete. In this work, the artist presented a blue spring sky, transparent clouds and dynamic figures, remaining true to his style, although the classical antique theme was uncharacteristic for him.

In a letter to Repin dated February 2, 1925, Kolesnikov expressed his thoughts and ideas regarding creativity and the artistic process. He discussed the importance of an individual approach to painting, as well as the influence of personal experience on the creation of works of art. This letter also touched on contemporary artistic trends and the importance of classical traditions. Kolesnikov emphasized that it was important for an artist not only to follow fashion but also to remain true to their inner convictions, which undoubtedly reflected his own style and philosophy. This letter became a significant document illustrating the creative dialogue between artists of the time.

I ended up in Belgrade, Serbia, and have been working in the art world here for over four and a half years. During this time, I have created numerous significant works, including an 80-square-meter ceiling for the opera house, depicting a mythological fantasy. I also designed 17 large murals for the Palace Hotel and eight murals for a boardroom in a Belgrade bank. In 2021, I organized my first exhibition, which featured 97 works. This exhibition was a great success, both morally and materially.

In the near future, namely on February 2nd, at the invitation of His Royal Majesty, I will hold an exhibition at the Royal Palace, which will last 3-4 days. In addition, I am actively preparing a larger exhibition for November, which will include about 200 works. I have several large pieces that I plan to present at this exhibition.

Stepan Kolesnikov, in his work entitled "Russian Emigration in Serbia in the 20th-21st Centuries" by V. I. Kosika, analyzes the influence of the Russian diaspora on the cultural and social life of Serbia. He examines the historical circumstances that led to the emigration of Russians to this country, as well as their contribution to the formation of modern Serbian society. Kolesnikov focuses on how the Russian emigration overcame the difficulties of adaptation and preserved its cultural identity, introducing diversity into local traditions and customs. The study shows that Russian emigration played a significant role in cultural exchange between Russia and Serbia, leaving a significant mark on the history of both nations.

Read also:

Ilya Repin, one of the greatest Russian artists, created many works in which he reflected his affection for his family and friends. His paintings not only demonstrate mastery of painting, but also convey deep emotions and personal stories. This review presents ten paintings by Repin dedicated to his loved ones, each a unique expression of love and respect for them. These works of art help to better understand not only the artist's personality, but also the cultural context of the time. Repin used portraits of his relatives to capture their character and inner world, creating deep and touching images. Examining these works allows you to delve deeper into the life and work of Ilya Repin, as well as feel his emotional connection with his loved ones.

Homesickness in Kolesnikov's Paintings

During Kolesnikov's Serbian period, his two homelands were harmoniously intertwined: nostalgic southern Russian landscapes and everyday compositions coexisted with picturesque Balkan nature and images of Serbian saints. Despite his success in Europe and financial independence, Kolesnikov suffered from a lack of recognition in his homeland. His triumphant exhibitions in Paris, Prague, and Brussels could not quell his longing for the Russian expanses, underscoring the depth of his inner conflict and attachment to his native land.

In Serbia, the artist continued to create his favorite subjects, depicting familiar steppes, intricately curved trees, and scenes of life in Russian and Ukrainian villages. His works feature fishermen, beggars, and wrinkled old men, reflecting a simple yet rich life. Coming from a humble family, he warmly captured the everyday life of peasants, depicting household chores, rare holidays, and moments of difficult joy. His works immerse the viewer in an atmosphere of sincerity and a deep connection with nature and people.

Kolesnikov created rare portraits, but people were not his main subject. For him, they appeared as part of nature and the overall composition. Often in his works, people's faces are not drawn, but are presented only as abstract spots. This approach emphasizes their connection with the surrounding world and helps to focus on the harmony of the whole picture.

In his correspondence with Repin, he discussed important topics related to art and creativity. These conversations became significant for his development as an artist. He shared his thoughts on artistic movements, the influence of different styles on the perception of viewers, and the importance of an individual approach in creativity. Discussions with Repin helped him to deeper understand his aesthetic position and expand the horizons of his perception of art.

I work a lot, and only in my favorite work do I find relief and a temporary distraction from my serious illness - a deep homesickness. Dear Ilya Efimovich, I feel support and warmth in a country close to us, among the Serbs, and this helps me and my family. However, as soon as I put down my palette and brushes, I am overcome with suffering, and my soul is filled with pain. All my creative efforts and energy remain outside my homeland and cannot be returned to my native land. But I hope that God will be merciful, and I await my time.

In his work, Stepan Kolesnikov illuminates important aspects of Russian emigration in Serbia in the 20th and 21st centuries. V. I. Kosik's book provides an in-depth analysis of the historical processes associated with the migration and adaptation of Russian émigrés to a new cultural environment. Studying these processes allows us to better understand the influence of Russian emigration on the social and cultural life of Serbia, as well as its contribution to the formation of a multicultural society. The importance of this topic is undeniable, as it helps to shed light on the fates of people who left their homeland and their desire to find a new home in the face of historical change.

He never returned home.

The Last Years: How Illness Gradually Robbed Kolesnikov of His Paintbrush

According to the memoirs of the artist's niece, Lyubov Geyrot, Stepan Kolesnikov spent the last years of his life not very happily. At the age of 56, after a serious quarrel, he left his family. Three years later, his ex-wife Irina died of a serious illness. Kolesnikov later married a Russian émigré, Maria, but his peace did not last long.

With the outbreak of World War II, the artist's son, Fyodor, was arrested. After his release, he tragically committed suicide. When communist rule established itself in Yugoslavia, Kolesnikov fled Belgrade with his daughter Lyuba, fearing reprisals. These fears were justified: his fellow émigré Ivan Shenshin was executed for "collaborating with the fascists," citing his illustrations for a German publishing house.

The destruction of the ceiling painting "Goddess Thalia on a Quadriga" in the National Theater was a personal tragedy for many. During Tito's reign, the artwork was painted over with oil paint, resulting in the loss of the original masterpiece. In 1989, the ceiling painting was restored based on Kolesnikov's original sketches, but he did not live to see his work restored. The restoration of "Goddess Thalia" was an important event, highlighting the value of cultural heritage and the need to protect it from vandalism.

The artist's greatest challenge was Parkinson's disease, from which he suffered for the last 12 years. This serious illness had a significant impact on his work and everyday life.

It was a true miracle how he was able to hold a brush in his hands. He did not strive for money, but created art because his talent required an outlet. His work became not just a passion, but a necessity that filled his life with meaning and inspiration. The creative process was a way of self-expression for him, and he continued to create despite the lack of financial reward.

The book "Russian Emigration in Serbia in the 20th-21st Centuries" by V. I. Kosik explores the phenomenon of Russian emigration, its causes and consequences for both countries. The author analyzes the social and cultural aspects of the lives of Russian émigrés in Serbia, as well as their impact on local society. The emigration of Russians to Serbia was conditioned by historical events, political repression, and economic difficulties in Russia. The book examines not only the individual stories of the emigrants, but also the general trends that shaped the Russian community in Serbia. Particular attention is paid to cultural integration, traditions, and the preservation of identity. V. I. Kosik's work is a valuable contribution to the study of the Russian diaspora and its role in international relations in the Balkans.

At first, Kolesnikov had to fix his brush to his arm. When his hands completely lost mobility, the artist decided to hire several assistants. They worked from Kolesnikov's sketches, and he added the finishing touches and signed the paintings under the name "Kolesnikoff". This approach allowed him to preserve his creative style and continue to create unique works of art, despite his physical limitations.

Stepan Kolesnikov died in May 1955 at the age of 74. He left behind a rich legacy of approximately 6,000 works of art, which are held in private collections, museums, and galleries in Russia, Ukraine, Serbia, and other European countries. The artist's final resting place took place at the New Cemetery in Belgrade, where he was buried next to his son. Eleven years later, his second wife, Maria, was laid to rest here. Kolesnikov's work continues to inspire and attract the attention of art lovers.

Stepan Kolesnikov, forgotten for nearly a century, is once again attracting the attention of researchers and art lovers. In recent years, his work has begun to receive the recognition it deserves, and he has become a topic of conversation in his homeland. His works, filled with deep emotional charge and a unique style, are finally beginning to take their place in the history of art.

• Kosik, V. I. "Russian Emigration in Serbia in the 20th-21st Centuries"
• Stepan Fedorovich Kolesnikov (1879-1955) - a catalog of the exhibition for the 100th anniversary of his birth
• Stepan Fedorovich Kolesnikov
• "Miliyenik sam Srba, nama bratskog narodu": srpska sudbina russkog umetnika"
• Stepan Kolesnikov. Ambassador of Russian Culture in Serbia
• Repin's Letters
• Kolesnikov Stepan Fedorovich
• The Forgotten Artist Stepan Kolesnikov. Interview with art critic Tatyana Podstanitskaya