Помогите описать картину Боголюбова "Вид Смольного монастыря с Большой Охты"

....на переднем плане бытовые сцены.... а за Невой-купола собора, в котором так никогда службы и не было-его создатель там повесился.... внутри даже росписи нет, а сам собор превращён в конертный зал... Сейчас всё точно так и есть.... Только территория этого берега с какими-то остатками шведской крепости НИЕНШАНЦ ( В ПРАВОМ НИЖНЕМ УГЛУ КАРТИНЫ ЭТО И ЕСТЬ КРЕПОСТЬ...! ) обнесена забором с гигантской надписью-ПРОДАЁТСЯ.... И НОМЕР ТЕЛЕФОНА.... а должна была быть башня 410метров ...офис ГАЗПРОМА.... красивая.... народ упёрся -его не устраивает модернизация и всё новое.... ОЧЕНЬ ВСЁ ПОХОЖЕ НА ЭЙФЕЛЕВУ БАШНЮ В ПАРИЖЕ, БЕЗ КОТОРОЙ И НЕ БЫЛО БЫ ПАРИЖА... И шириться движение сохранить реликтовую свалку.... возможно даже поставят табличку, что с этой точки г. БОГОЛЮБОВ написал картину.... о которой речь...

Абонент вел себя вызывающе, но телефонистка на вызовы не отвечала. Э. Кроткий
Ей нравится, во-первых, телефон: \ Не позвонить ли, думает, подружке? \ И вид в окне, и Смольнинский район, \ И тополей кипящие верхушки. Александр Кушнер В полуплаще, одна из аонид,

Aleksey Petrovich Bogolyubov, founder of artistic history of the Russian Navy and master of Russian and European landscape painting, lived a most eventful life.

It suffice to mention his meeting with Karl Brullov who determined the life mission of young Bogolyubov; his study at the Art Academy, talks with painter-philosopher Aleksandr Ivanov in Rome and Paris; years of studies with masters of French and German landscape painting; friendship with Corot and Daubigny; practice in landscape painting from Holland to Crimea and from Normandy to the Volga; friendship with Kramskoy and his 'Fellowship of Moving Exhibitions'; his studio in Paris and friendship with such representatives of intellectual elite of the time as Turgenev and Zola to mention but the few...

Although almost a quarter of a century Bogolyubov spent in Paris, his work and public activity were tightly connected with the Russian art.

Aleksey Petrovich Bogolyubov was born on March 28, 1824, in the village Pomeranye in the province of Novgorod, in the family of colonel Pyotr Bogolyubov, a hero of the Patriotic war of 1812, and Fyokla Radischeva, daughter of the famous Russian revolutionary of the eighteenth century.

In the January of 1841, Bogolyubov graduated from the Naval corps with the rank of a midshipman. Fond of drawing from his childhood, the young sailor liked art more with each year: his long voyages to various parts of the world provided him with rich experience of life.

Several pictures and drawings of Bogolyubov survived from the period of his sea voyages of 1840-s. Although they are far from perfection, one can recognize signs of careful watch of nature and life, characteristic of the long work of the artist.

When abroad, he got acquainted with works of known western artists.

In 1848, he visited museums of Amsterdam, Haarlem, and Rotterdam.

In the end of the same year, Duke Maximilian Leuchtenberg, president of the Art Academy, admired some drawings of the young lieutenant and received permission of Czar Nicholas I to enable Bogolyubov to study at the Academy without retiring from his service in the Navy as he did not have other means to support himself.

At the Academy, Bogolyubov studied with such prominent artists-teachers as M.N. Vorobyov and B.P. Villewalde. But it was not they who became principal tutors of the young officer; it was famous marine painter I.K. Aivazovskiy, although not a professor at the Academy, who happened to exercise the greatest influence on him.

Bogolyubov's works at the Academy are typical examples of landscape painting in the middle of the nineteenth century. But already they demonstrated determination to study nature and life, to render their true state. In 1853, Bogolyubov was awarded with a big golden medal for three views of Revel, which enabled him to get a grant to travel abroad at the expense of the Academy.

When the Crimean war started in the same year, it provided the artist with enough new materials to make the album, devoted to heroic deeds of the Russian Black Sea Navy. Because of its success, Bogolyubov managed to receive a great order from Czar Nicholas I to paint seven pictures about the Crimean war.

In the late April of 1854, Bogolyubov went abroad. In Brussels and Antverpen he studied pictures by Rubens and Vandyke and made careful drawings of ships. Then he went farther on to Switzerland and Italy.

Meanwhile, the Crimean war ended in the March of 1856. Bogolyubov was able to return to Russia to start studies for the royal order.

Then Bogolyubov set off to Paris to perfect his skills, and made friends with leading European artists of the time. Old Corot used to visit his studio as well as Daubigny who praised his works very much.

In the late 1860, Bogolyubov returned back from his voyages. With him, he brought a large number of pictures and lots of original studies. The Academy organized an exhibition of his works, which proved his development from a promising stu