Vs. Dmitriev. Nikolai Nikolaevich Gege
Nikolai Nikolaevich Ge, "Apollo" No. 10, 1913
Apollo
December 1913. № 10
NIKOLAI NIKOLAEVICH GE
Vsevolod Dmitriev
1.
Several centuries of artistic life were bound to reveal, at least in hint, originality. Russian art is the feature that would distinguish it from the number of arts of other peoples and, thus, I made him alive and useful. It is difficult to think that until now our art has languished in such an embryonic state that it is unable to It was even a hint of such a line... But unfortunately, we have to be satisfied. A dream of a better future, if I am quick to say, to recognize unshakably true those theories of the development of Russian creativity that are generally recognized now.
We come, for example, to the amazing conclusion that XVIII century It was the flowering of our painting. Conclusion, which contradicts the whole world history, where the flowering of art has always accompanied the powerful growth of the entire spiritual life of the country, which, of course, we can not say about our XVIII century.
But, investigating our mass art movements XIX and beginning XX For centuries, we have come across a fact that is even more surprising: All Russian movements began with a categorical statements that before them there was no Russian painting, that the rise and zenith of its miraculously combined in this current and that It was this unpreparedness of the new movement that was put forward. Almost in the main of his dignity... A fact that reverses all our concepts, reinforced by an example from European art history. It would seem that this lack of preparation should have been a warning. as a sign of detachment, groundlessness of the new to indicate that in such a case, A painful end is inevitable in the unnatural beginning – a stalemate, because European history teaches us that art has borne the fruits of the world. meanings only where The new generation took care of It moved the legacy of the previous one. If the European lesson has not yet been accepted by Russian art As an unavoidable law, this can only be explained by our excessive self-delusion, the hasty dream of giving color where there was neither sprout nor ovary. Such claims each of our artistic The currents are forced to doubt all of them, forced to look for a live stream of Russian creativity. beyond these mass movements.
At the moment, the attempt to get out of the mainstream assessments This greatly facilitates what is happening. Reassessment of Old Russian Art. This reassessment, in a different way illuminating the entire past of our artistic life, revealed a line of great importance, but which is a very important one. was invisible until not visible richness of icon painting. We stand only on the threshold of a real study of ancient Russian creativity, but we can point out even now a line that seems to us an exceptional feature of ancient Russian art and, together, the main bend of the entire Russian school of painting: - it s and s and s.
I don't know. the meaning of art, and hence I don't think so. I don't care.
erm p I don't know. ch and c and l I don't know. yo
Oh, yeah and yeah. Until recently, such a refraction was called naive inability, conditionality, but at the same time This convention-- A manifestation of the same high need that makes the poet forge his inspiration into a completely conditional form - a poem.
Copy. painterly power of refraction of its form and applying this measure to the Russian artist n XIX We will not hesitate to single out three, Ivanov (1806-1858), Ge (1831 - 1894) and Vrubel (1857 – 1910).
In the works of these artists, we find not only clearly expressed attempts to elevate the vague forms of modern them to the stiffness of style, but, most significantly, We find a thread connecting them. paths one with another; a single main theme is revealed in each of them with new strength and new depth; and This topic is the same as it is now. It is evident to us in ancient iconography. This gives us the courage to point to them as the indispensable stages of Russian painting; it gives us the joyful opportunity to say that we have There is a normal sequence of development, that we have a history connected not only by a temporal sequence, but also by a sequence of artistic growth.
Nana Ivanov and Vrubel have been pointed out more than once as the highest manifestation of Russian genius; it is true that in most cases They were limited to delight, without drawing proper conclusions from this, but Ge did not deserve this either. This is partly due to the characteristics of personality and talent. Ge, but mainly that Ge too resolutely separated himself from the dominant quests of his time, touched too close the historical He was invisible to his contemporaries and therefore invisible to himself.
But later, and in direct proportion to the growing thirst, to find the thread linking the confusion of Russian artistic currents into a logical whole, to find a way to find a way to find a way to find a way to find a way to create a coherent whole. curve "face" Russian painting special and alive, increases interest in Ge. Process change in estimates Ge It seems so It is instructive that we cannot refrain from bringing from it A few examples.
P.
First first "interpreter" Ge was Stasov. His biographical sketch, which appeared shortly after the artist’s death, contains a considerable load of family, and often not related to it episodes – the laws of the artist. and Features of Geo It almost does not affect, but if it does, it is so embarrassing that until now it was Stasov’s judgments, walking around the world with his light hand, that prompted subsequent critics to erroneous or negative assessments. "Pillar of Movement" He hastened to find out and emphasize what was nice and principal He understands himself; therefore, he came out extraordinary. "Subject" and Tolstoy, at the same time and not from the talented. But anyway, Stasov was lenient. toward He forgave him of the alleged “little one.” artisticity purely The sincerity of his work...
In the next generation, we no longer find such indulgence. new-flag It was written “love of beauty,” but in understanding the meaning of form, the new movement remained essentially closely related to the Wanderers. Hence all the negative provisions of the mobile assessment Ge remained intact; Stasov lamentations about the inability of Ge remained in full force finishing his paintings, his technical weakness, etc.; Only a negative attitude to the sincerity of the artist is added.
If Stasov spoke - "Let it be bad, but with good intention", now they say - "albeit with good intention, but bad"; new here There's nothing, just the accent. Here and there, the art of form is understood. sort of spiritually independent The artist, and most importantly, believe that the The ideal has definite limits and definite laws. But Ge's idealism It was quite different, for Ge said, If the ideal of art were constant, unchanging, Then, in comparison with him, one could say that such and such a work Since the ideal moves, opens up, and becomes new, new discoveries and efforts of artists, such a word is a protest against the idea of the world. “Abandoned obsolete ideal,” then, fatally, it should have been There is little appreciation for Ge's achievements.
The fact is that for some, the form was something From the age given, and for Ge certainly had to break down and grow with the spiritual growth of the artist. But beginningXX century wet observed a different attitude towards Ge indicating ripening new And what's particularly remarkable about these changes is that there's a lesson in French art that made us appreciate it. That refraction, that living thrill of form, which is so much in the creations of Ge, pointing to which, his recently accused into hysteria, negligence and ineptitude. Position Ge that "perfect moves," finds convincing into The following words: “Ge's work is striking. Its powerful realism, its bright Painting and wonderful psychology of faces. Ge's creativity hits a live stream gothic sometimes clever, but Always boring, his contemporaries. (Bar). Wrangel, magazine "Art," 1905. Recent "inability" accepted how powerful Realism. But even higher. score We find this from another author: “The ability to highest It's an inspiration that we call inspiration. throughout History celebrates the gifted and puts them outside of schools and directions – makes us relate to personality and creativity. Geh. toward phenomenon n of the highest order. (I. Filyansky, Art, 1905) And finally, V. Milioti (The Golden Fleece, 1909) perfectly It expresses a new understanding of the meaning of art that distance estimation Ge: “Creativity Ge was a struggle. And he was in the midst of his own creation. disregard for painting. For It was not a matter of reason, but a voice of blood, and while others tried to speak, he painted.
Against such interpretation We find no objections to this, only to point out the following: "artistic" as something. Firmly fixed, replaced here a new art, valued only because it implementation “The voice of the blood”; thus, revaluation Ge not only an act of justice, but a sign of profound change Russian artistic ideal. Unfortunately, these guesses of the meaning of Ge were not accompanied by a consistent breakup of all established since time. mobility judgments; therefore, along with judgments strongly opposed The first assessment of the artist, we find repetition Stasov opinions. Okay, Milioti. name Ge - "The Wanderer," and yet this label It's as close to Ge as, for example, "artificial world" toward I will. Filyansky also repeats the prevailing view of unlimited influence. fatty GE: at the end of his life, when Ge's ability was completely weakened. mightily rush win lack of will - He's totally influenced. once recognized authority If The pride of this man was as high as his inspiration—many of us would be his slaves. But is that true? Did it stop us from becoming his slaves? just a lack of familiarity on painter and gullibility toward His first appraisers?
Shh.
If agree that the artist It can only be judged by the laws it recognizes. such trial Ge hasn't been over yet. And detractors, and praiser Ge in his judgment guided only by personal taste; We're not. find out infiltrate laws that creatively The artist, and therefore, of course, valuation They cannot be convincing, but more They are bound; they are bound. and They reappear as sand, following Changes in artistic taste. Such evaluation We can only trace changes in taste, and he himself still remains as invisible as he was. for his contemporaries.
Meanwhile, there are beautiful characteristics, and it is based on the laws specified by the artists themselves, for example, Venetianov, or Levitan, or Serov; Characteristics of love, trying to penetrate c the spiritual way of the artist, to identify it, and through it to evaluate. And one of them painter middle XIX century Ge I have not yet waited for this study; Isn't it logical? to conclude that the laws Ge Have you been out of the field of achievement? All arrows pointed allegedly in it, punch The ghost in which we leave them.
Before. How can we explain this strange phenomenon? passage And we will not forget the Laws of God, but the Laws of God. Explain the importance of creativity Ge match with an equally persistent search for native soil - a historical thread Russian painting. This coincidence is remarkable and has deep reasons.
Studying the life of Ivanov, Ge, Vrubel, we find a fact that explains a lot. In recent years, Ivanov was rumored to have gone mad. Ge wrote: "The name of a madman I have long carried." Everyone remembers Vrubel's fate. Of course, it is calmer to interpret this as an accidental coincidence, to explain the personal characteristics of the above mentioned artists. But do we not transfer the cause - sparing ourselves - from a sick head to a sick one? healthy? That The work of these artists took place in clearly unprofitable, burned out in the tragic struggle with the demands of their time - in the same conditions, ordinary talents. It's an exhaustive, abundant color. This leads to the conclusion that the artistic Our concepts are extremely beneficial for ordinary talents and disastrous for geniuses.
Just the opposite. We see at least in the era of the Italian zenith: Leonardo, Michelangelo, Raphael. They were free to live and, of course, in the weaker ones; they could follow only the prescribed The genius of the way, but were not the autocratic kings that were and are now. at us. Cult "talent for talent" gave The result was sad and gave an opportunity. petty talents, all its mass, to silence The growth of single geniuses.
If we recognize that the meaning of art is a perfect embodiment In the spirit of this people, we will come to the conclusion that one genius, above the his individuality visionary embodying mysterious spirit proportionably precious what please number of talents, expressions Just yourself. Then our immediate task is to try. to correct the fatal mistake of Russian painting, to try the ideal of our greatest artists make ours ideally; let him therefore It will become more severe even unilateral, but Perhaps, then, Russian art. It will strengthen in the soil, long prepared, and will give a strong and lively growth in the future.
Now we will interpretation The reasons for the silence of Ge: its requirements They were too high, their acceptance meant would ending of our artistic oligarchy, but nobody refuse It was a matter of free will, and therefore the silence lasted until until the very course of artistic life didn't demand a break prevailing dogmas. What is it? so that The concepts of GE are indeed opposites. In other words, it has recently been necessary to show everywhere further investigation of laws and features creativity Ge.
IV
Youth is often a sketch of later life; the fact that in youth only a minute, only a trial, then grows stronger in a conscious step, and therefore often youthful. years Sheds light on the actions taken years later. In life. His youth is especially important in adulthood. Ge oppressive clueless youth harmonization requirement time, therefore; knowledgelessly young fracture The last few years seem like Unexpected, inspired from the outside, as he seemed to many interpreters of the artist. Sure, In the normal course of development, maturity should have been A firm framework is a young inspiration. If Ge into old age fit together youth and old age, strike out maturity, here is a sad result differentiation art faiths of Ge and his contemporaries - a fatal feature of everything XIX century Russian painting, which imposed on the last works of our best artists the stamp of painful convulsiveness.
We'll bring There are several examples of how close Ge came to the end of his life. The impulses and the beginnings of youth. About his gymnasium years (1841-1847) painter writes: My life. It split in two. One half was my inner world, my faith in goodness, love, truth, knowledge, here I also included art. Emphasize First of all, faith, then art. This arrangement remained with Ge for all. life; It is less clear in maturity, but At his last break, he clearly appears again. Describing his first meeting with L. Tolstoy n (1882 Ge says: “Everything became clear to me. Art has sunk in that which is above it, incommensurably.” Thus, If in the mature period art for Ge was It's good, then it's good again. became play But is this the fruit of "fatness"? Would it not be more correct to say that through Tolstoy Ge was able to reveal his long-held cherished need?
The question arises – is not this arrangement (belief in goodness, love... and art) A sign of Ge's little artistic talent? But, for example, at Michelangelo Art played the same role in relation to his faith. The art was great not in itself, but as powerful. method The realization of his high feelings. Reinventing the famous evangelical This seems to be a degradation of art: to save the most precious thing in art, one must lose it for the sake of faith. artifice for him He loses himself. That Ge so understood the subordination of art, we find an indication in his following words (from a letter to T. L. Tolstoy, 1892): art in content, in what is really the most expensive, and You keep in your soul as the most precious, the most sacred. It is holy and will show you the character and The form will require you to study one form or another. Only through high content can Find and give perfect shape.
Following the further course of Ge's life, we again find a fact that outlines the originality of the artist's personality, and again, which subsequently had almost identical repetition. After graduating from high school Ge I had to decide – or take a risk and follow the vocation, or choose a profession more reliable, giving material security. But Ge (which we show below) notion art coincided with the concept of sacrifice, martyrdom for the truth; therefore, he Trying to avoid calling and going to university (1847-1850). In Memories of His Brother's Artist Mr. N. Ge reads: "On the way out N.N. Gymnasium. completely He gave up painting and, one might say, did not think about it. Lectures and research only They were interested in him.
This youthful attempt explains another – incomparably more tragic and erased from the life of the artist several better years. I. Repin. within “Memories on Ge transmitting 1880: “Do you not feel drawn to painting, N.N.?” No, yeah. We don't need art anymore. There are more important and serious cases.” In his youth - for himself, here - for his family, Ge tries to change the lot; but both here and there this deliberate prudence suddenly breaks down, revealing the strongest creative craving. In the first case, she was opened by a meeting with a former schoolmate, P. Zabela. In the notes of the artist's brother We find this retelling of Ge's own words about his fracture: "He (Zabella)" He left everything and almost walked here - in order, regardless of anything, to enter the Academy of Arts. Whatever you want, it's worth something. At least he just amazed me... There, talkatively With him, I saw, brother, yes, I saw. Who needs me with science? No, I'd suffocate. I love art too, and it will give me life.
In action Zabela Ge was struck and seduced chiefly by the risk of sacrifice, that for the sake of art he did not fear want, that "Almost on foot" - it corresponded to the cherished dream of Ge. Therefore, the cause of the juvenile fracture Ge It was not only an attraction to art, but, above all, an opportunity to... The art of sacrificing oneself and, hence, of getting justification for life. Wouldn't this example make the artist's youth To change the attitude towards the last fracture of Ge, to accept it "fatness." Only as an external push, as a point of support for deep creativity? And the conclusion made by Ge in old age is similar to that of a youth: The whole point is to decide for yourself whether you want to be. to be sacrificed or to be sacrificed by others I have decided to sacrifice myself for you; I have decided to sacrifice myself for myself. - 1893 This position, expressed by a impulse in his youth and then forgotten, at the end of the artist’s life became the basis of the work of the artist. And the one who did that, This is a very high level of tension, which is striking in the work of his last years.
V
In studying academic period of Ge's life (1850-1857) One feature of Ge's taste is striking, which is very characteristic for him and served as almost the main basis for negative reviews about the entire work of the artist. "Ge began in Kiev, as a result of the story University curator of the museum, Platonic passion for the famous Bryullov and his famous painting The Last Day of Pompeii. Arriving in St. Petersburg, he saw this picture with his own eyes, and from that moment began for life the boundless adoration of this picture and its creator. (V. Stasov). That this was partly so, we are convinced at least by the following place of notes of the artist himself: Bryullov to this day. remains in disgrace, because Stasov, who does not love art, found necessary drop it, and good-natured The audience agreed with this. (1892) This opal was not removed by the next generation, so Alexander Benoit read: Ge fought in his paintings against academicism, but this struggle was extremely inconsistent. Until his death, he remained a fan of Bryullov. Thus, bruhlov appears by taste. Ge believes that anyone who does not appreciate Bryullov does not love art, and his opponents claim that love for Bryullov means misunderstanding art.
The Wanderers denied Bryullov for the lightness, frivolity of the content; then it was denied for ease, "not-intimacy" form; but if you appreciate Only insofar as it is flexible. content, then We recognize that the form of Bryullov It's extremely transparent. It has a secret that is almost lost. For generations to come, as if through pure glass, in thought of the painting.
That's the transparency. Ge seduced Bryullov’s skill; even Bryullov’s content is superficial, theatrical, but if it is for us Yeah. t eh? no well Oh, we'll have to. after Ge to call Bryullov, not only as a portrait painter, but also for his paintings, one of our best Formists. Love for Bryullov did not prevent Ge to indicate the border He said, “Bryullov’s weakest things are religious.” In them, form is not everything, and content is a living form. Ge clearly sees the surface of Bryullov’s creativity, but only he does not make naive. mistakes, does not replace in his assessment the formal skill of Bryullov his mental defect.
Here. I want to draw a parallel with Ivanov and Vrubel: how Ge, through the heads of contemporaries, understood the valuable in Bryullov, so Ivanov over the heads of his contemporaries I understood the perfection of the ancient Russian iconography (which at least his sketches indicate) "The Resurrection of Christ", and so, finally, Vrubel, in the era of separation of form and content, recognized the great importance of content and fell in love with Ge, which, no doubt, until recently seemed as absurd as Stasova - Ge's love for Bryullov.
The high assessment of Bryullov did not prevent Ge also from treating academicism with a resolute denial. to a school that strengthens artistic growth, and here Ge is quite consistent, For the wonderful transparency—the bonding of form with content—is bound to disappear when Trying to replace inspiration And sincerity is work and pattern. And denial is not. less conscious than, for example, Ivanov's denial. Ivanov said: "Academy of Arts exists." past It was founded by Italians tired of inventing. They wanted this. The idea of building art again high, but did not create A genius to this day. The artist must be completely free, never. It is not subject to anything, independence. It must be unlimited. (1883) In Ge we find the following: In art one can learn and one cannot teach in the ordinary sense of the word, as one teaches objects of knowledge. Only those who have the gift and are at the head of the art movement teach. Such teachers have always been and always will be, all other teachers are impossible and unnecessary. (1893) For Ge, it was already clear with We are going to the Academy where we find it. Indication in the following words of the artist: "Professor" bassin spoke It's so clear it's like saying nothing. He uttered phrases like: you need to draw well and write well. He had almost no pupils, and was known for his indifference to the interests of the few who were his pupils; and I chose him (which was a prerequisite for attending classes) for the sake of freedom. “art studies”. But even this prudent choice did little to help the cause. Ge barely completes what is required Academic rules and follow border: “Where wider liberty - I want to go. There is no air left. (1857)
Thus, During the academic period, Ge has to look at the verge, which then could not be passed by the unsecured person, as the time spent on eliminating the annoying obstacle that prevented you from entering a real school, which gave you support. artistically The school was like that for him. "abroad."
VI
Uniqueness school (1857-1869) perform It's particularly slim when we compare it. on Ivanov's foreign school. Ivanov has a long one. "abroad" passed away the study of both the masterpieces of art and nature; its school is like a mighty foundation, knocked down from stones chosen from everywhere, And then there was a great effort. He builds his own, seeming so light and minute. "Bible Sketches."
Nothing like that. we don't find at Ge? "abroad" seemingly I didn't touch him. At first, he gives himself entirely. dream For months, for almost a year, I could see nothing else; everything was obscured by myself. Pompey. Reproduced here Morning.[1]in handbook painter named "imitation of Bryullov," shows penetration He is in Bryullovsk mastery, but at the same time Ge I have put here a spirit that we do not find in similar works of his sample.
Ge’s “imitative” year ended with a severe dissatisfaction: He met him by chance in 1857. A.I. Somov. tells us He was so dissatisfied with himself that he I decided to say goodbye to painting and return to Russia. But Here the new influence turned Ge in the other direction. Under the sketch. The Burial of Christ (1859) He once again said, “under the influence of Ivanov.” And finally, create a picture where there is no No trace of Bryullov, no Ivanov, Delaroshevskaya Last Supper.[2] . At first glance, it seems impossible give logical consistency to these It's a big jump in Ge's taste, but in the meantime, it's there. We know that GeHe doesn't call himself an image. Bryullova is where "content is a living form." Because when Ivanovo And following his instinctive drive, he changes. Death of Virginia.[3]and "Vestal Love."[4] for Calvary.[5] and "Christ's Burials."[6], - then quite consistently, does not take Bryullov with him the leader ...
But Ivanov also did not give Ge the sought-after. "Living form": "Ivanov wanted" exit Italian art, but could not, from his And he went away, and a new word, his living, tell I couldn't. Therefore, Ivanov’s mistake, according to Ge, was in what he was looking for. er shen form when it was necessary to seek And oh. That's the insistence on the need. look for a living form and is explainer Ge foreign school. "Before" into Russia me on Great artists only looked and appreciated their sides available to me. The main side of them creativity I could neither know nor understand. Subsequently I saw them in Florence, from childish babble to complete perfection. chimabuye to Michelangelo. I saw it. growth any form of lively form.
These words are a summary of the Ge school that on She gave him her whole life. unshakable foundations. I realized that to find my thought, my feeling in the eternally true, in religion. human is the task of art, and: “Live maintenance requires It gives a living form, such a work will be artistic, as the great artist understood. Michelangelo.
Thus, observed in the study creativity Ge permanent his ambition finely brighter, easier more accurately implement captivating his thought, sign Neglect of form, but consequence of persuasion Yeah, that's it. So you can find a lively, really artistic uniform.
Betting hugely High Michelangelo, okay. calling him his ideal, Ge none not He imitates him in his work. Why? We're coming. One of the most important and, in our opinion, the great importance of the artist's thoughts, which He writes in a letter to Tolstoy in 1893, as a response verbally Tolstoy, that "There's no art now": "Yes, there's no art." I take it this way: there is no would have been It is expensive and clear the same for everyone. Everything that should have been whole for everyone, it crashed, and though it no He can't live, yeah. I'm in the middle. Oh, well. Art does not require this: I looked, and all Romeo and Juliet.
This is a huge task – to hold back once whole, but without borrowing staples perfect At least to Michelangelo, and again to give new-spirit and new living form - this burden made the step Ge so incomprehensible forerunner interpreters who have not yet felt the need for "revival." Of course, with such amazing consciousness. define ge got Only later, in the years which we have examined, was it obscured by the dogmas of his time (we shall return to this in the next chapter, which will give us an opportunity to deal with the causes in passing). cheating Ivanovo for Delaroche. The above parallel between and Ge Let's end this way, if Ivanov growth through the accumulation of influences and through recycling theirs into your style, then Ge he march drop-off these influences; every influence, as bark pressed His talent, and all his artistic growth. Ge concluded into discharge Such layers. From the very beginning, Ge was all and your way and yours face There was no power to expose them calmly and freely. It was only in 1890 that he said: There is a lot of junk in all of us. cornerways and It's in its old forms. But this is when you quit. You'll come in like child Then it will be good. But to get to that simple point. how child, Ge It needed to be painful. life experience.
Difference between sketch "John's Head" and John into finished Last Supper. emphasizes What you said. In the sketch. flutter internally authentic, and therefore real And that was the kind of thing that he had so carefully guarded. old age, which on so amazing pure preserved though would picture "Christ and Nicodemus." Or the last Crucifixions. In the painting. Last Supper. It's mercilessly erased. in order to achieve the obligatory at that time completeness, understood in the form of some external "Gloss." This gloss contributed to success in its time. "Last Supper", but now we have only to regret the irretrievable loss of precious Inspiration of that already quite ready master, which we find in sketches And that disappeared under the bark of the artisan gloss of the painting.
VII
Success. The Last Supper (1863) put forward Ge in the first ranks of Russian artists and created him for a moment a very brilliant, but also very dubious position. counted "his" Both the academy and the nascent movement are mortal enemies. But Ge, without analysing exactly his success, makes a joyful conclusion: I realized in St. Petersburg that what I was looking for in Rome and in Rome. Florence in art, or better say cf. That's what everyone was looking for here." Ge sought "in himself." living form and trustingly endured the same search anything Russian society, not noticing that the Academy accepted him only for the sake of his success, through him strengthen his already decrepit autotet, and society gave him success for the sake of the accidental coincidence of his plot with the fashion of the day.
Ge cuts the ambiguity of his position with youthful arrogance; to the academicians It does not adjoin the Academy in the sense of art was It is full of anarchy, but still less satisfied with its young movement. Having lived for a short time in St. Petersburg, I remained only a spectator. I couldn’t start a new movement because It was for me in many ways. "understood". GE, relying on his own A ghostly victory, dreams with the power of his genius to give the desired deviation to the growth of Russian painting; therefore he openly expresses his favorite thoughts and sharply He denies those to whom, after only a few years, he has been taught by cruel experience, he is already trying to adapt: All this mass of motley people with a thirst for a new, something better, but without any other means. What is new, except for the naked phrases? Nothing. Political views for me as an artist I felt it, and therefore to hear something new, clear, dear. for me me not could.
"Naked phrases" Ge counterpoint really New and alive; In his new painting, he wants to show where our art is, what is its task, where is it? thought, but for painless resolution This requires a very high level of art. society, which in Ge's time was not, which will affect into further The fate of the artist. From St. Petersburg I rushed I went back to Italy and started writing. Heralds Resurrections This picture is a serious step forward and, at the same time, to the side. from academics, and from travel, from craft training first and from Amateur handicraft of the second. She is. It clearly breaks into two parts: In one, light. We find a beautiful stiffness of form. content - not here. stories, all content in the ordinary, in this simple powerful dawn, in the sharp, flying folds of Magdalene's clothes; other - dark (warriors) - treated It's still in the old templates.
Task. The artist himself interpreted the painting as follows: “The resurrection proclaimed opposite to the two sides of the witnesses.” Deep. significance comparison The opposite sides, free of human choice, caused the creation of artwork poets and artists such as Dante, Michelangelo, Shakespeare, Goethe and our Pushkin. S student-love I followed them, understanding the importance of thought and cf. and You and I. But since society and contemporary artists "mode of expression" It didn't matter, but Ge replaced it. content exclusively artistic, of course, picture suffered It was a total failure. If the impression is Last Supper. on public was "thunderous" (in the words of V. Stasov), equally deafening was for Ge failure "Resurrection"; all his rainbow constructions They collapsed.
It seemed like a failure. should have hardened Ge, make him. Closed in (as if) was closed, for example, Ivanov, but the personality of the artist lead his other way. Discussing the causes of failure Appearances of the Messiah, Ge indicates that “immediately” impression The painting didn't produce. no and me Illusions" and that "long Absent from Russia, Ivanov relatively survived his comrades, but p And that's it. And equally cause explain apostasy Ge from the ideals of youth. Ge decide on such a step in order not to "skip minutes" to stay chiefly Young Russian art. (Here we find) explanation The transition of the artist from Ivanov to Delaroche, as fashionable necessary “direct impression through illusion)”.
The third and last foreign painting by Ge "Christ in the Garden of Gethsemane" - trial To change oneself is a crossroads. You can't change it right away. path strongly and distinctly begun in the Resurrection, in the picture The Garden of Gethsemane. Ge taste combine - internal Reality from the outside. For Christ he writes sketches on nature and tries reality carry over into the picture; the options are available One better than the other. Ge seemingly I forgot the basic law, so well expressed. They themselves, in religious paintings. "The content itself is a living form," and wants to piece from outside, written off random nature, glue together eternal content.
We count. don't touch here singularity Ge is his dislike "in kind." He was exceptional and highly gifted. "fantastic" - not dreamer In the spirit of at least, for example, Gustave Moreau, but fantastic, as was Michelangelo. (not for nothing) References to it often accompany the cherished thoughts of Ge. It's such a fantastic thing. casual imagery life through the brain It turns them into the same realism, but condensed, and therefore disproportionately of the strongest action; dust, absent-minded The flowers turn into honey here. From here. minority many studies and Italian Ge species. dava photographic drawing The land, its jewel, spirit in this area, painter healed himself so that later memory suddenly and powerfully recreate it in their own "fantastic." works, for example, in dawn "Resurrections." or moonlight The Garden of Gethsemane. This is the gift of Ge. more hindrance go hand-in-hand on His contemporaries made him strange, "too thick." for their understanding, and into parable all the time The power of the artist was aimed at its appearance.
Ge didn't. choice; his lively temperament He wanted to talk to people, so most of all. he was afraid Repeat Ivanov's mistake, "squander a minute," walk away mass time movements. That explains why. Ge After the failure of his religious paintings, after the cooling of Russian society to him, he hastened. leave abroad migrate into Petersburg, in the thick of it. public life. What Ge felt fatality The Garden of Gethsemane, as The beginning of his creative journey, we find curious into notebook Yekate. IG: I've arrived. (1887) farmland P.M. Tretyakov I bought a painting. "Christ in the Garden of Gethsemane." N.N. He wanted to varnish it before it was shipped, and looking at it, he decides it's not good. expressly his thought, and he'll rewrite it. We were afraid that he would record an already sold painting, and began to ask to left This picture and painted his new idea on another canvas. We only persuaded him because of the was time empty canvas of the house. N.N. I started writing. It was a really gratifying time for him; he wrote this for a month or six weeks. He wrote it. sketches 10, but never He wrote another Christ in Gethsemane. garden, and tortured strongly Failure. should was over this "suffering." Ge taste straighten curvature, but of course already too much late, his possible was only "cut", together with the consequence distortion - painting Petersburg period, and begin lively seat “Resurrections”; so it was done Ge in the last period of his work.
VIII
Petersburg period (1869-1875) I want to define how Ge's attempt to become mediocre for the sake of affinity with contemporaries. It's like Michelangelo says that the purpose of art "lift your soul off the ground" toward sky and their own, said 1864: The Artist's Case not fight. He is mostly a peaceful man, he cares to keep that He's the most expensive. his ideal. Ge substitute it High and selfish interpretation of others, much more understandable and close to others. The substitution began when the artist was in Florence - at the end of the 60s; we get information about this from the story of G. Myasoyedov: "N.N. gather There are many diverse people, More than anything else, politics... They argued a lot, argued with foam at the mouth, spared neither words, nor censure, nor delight, but all this, without leaving the field of wishes, It ended with the peaceful absorption of Russian tea. It's like nights like this. relocation preparation into St. Petersburg; they created him glory just the opposite of that. What he had been looking for years before. In We read the memoirs of I. Repin (1869); Ge It was said that he intended to put on the proper level the meaning of the artist - that the artist, in his opinion, should be a citizen and reflect in his works all the artworks. And that's what it is. and so on I don't think so. And Ge He does not protest against the manipulation of his lofty Pushkin ideal – “Live Alone” – by a new, newspaper one. Ge rejected the example of Ivanov, who lived as a hermit - when, perhaps, it was the only one. method "keep the ideal" I really want to move the arts forward (in recent years). This is the way the artist went, so now He did not manage to raise society to himself, he decided to go down to him. Like before, Ge. outside influence But he did, when Michelangelo came to him. push-on for an even more passionate deepening into himself, so now he is all a surface, all a mirror. "the vital interests of society." In the works of St. Petersburg creativity We do not find an inner necessity; it could not have been, for the artistic growth of Ge He was violently crushed. Reason for creation "Petra and Alexei" It was purely public. “In 1870 There was a lot of talk everywhere about the exhibition in 1872 to celebrate the 200th anniversary of the birth of Peter the Great. (V. Stasov).
As the failure of the Resurrection could have been predicted in advance, so is this picture. provided in advance success; there was all that was necessary—an illusion. and "moment." Picture It wasn't finished yet. He made such a great impression in the workshop that he immediately bought it in advance. P.M. Tretyakov" (V. Stasov). Inspired by success - equal to the success of the Last Supper - Ge He is in a hurry to get to a new painting. Here. observed He hastened like the one who made him. "Secretly." “Evenings” to abandon all orders that promised material benefits, and jump to Florence, but then – for the sake of further deepening and clarifying his reserve idea, now he is in a hurry to once again use the secret found to shake the crowd.
In Stasov, we find a funny story about the search for Ge a new equally profitable plot. Artist "Tsar Alexei and Patriarch Nikon", but I immediately rebelled against him and with great fervor began to prove to Ge that, in my eyes, he, Ge, should not have taken such a thing at all. It's a story, because what's good and important about it? The triumph of clericalism ...” Such a respectful argument led Ge to rush into the search for a new topic, more liberal.
Finally, the plot is selected: "Ekaterina" II Elizabeth's coffin. The artist began to prepare for the picture: he watched portraits of Catherine, Peter Sh, studied costumes, palace architecture. etc., etc. In short, all the signs of naive substitution, so necessary in those days, artist – historian and photographer, inspiration – work and wit. But the picture failed; its failure was equal to failure. "Resurrection." Ge explained it probably by insufficiency "moment" The chosen plot; therefore, having taken up a new one, he already coordinates his theme with the fashion of the day. B those There was a lot of talk about Pushkin. Pisarev and his literary party strongly attacked Pushkin, others fervently defended him, and so, in the midst of this lively struggle, which interested so many, Ge.. And crash again.
So as not to be unfounded in our interpretation of the reasons for the new failures of Ge, when it seemed the artist He used everything to please his contemporaries, we consider it necessary to give the following excerpt. from the memoirs of I. Repin, as best as possible confirming Our conclusions: “In art Ge preached (early 1970s) primitiveness of means and artistic ecstasy with the sincerity of the Pre-Raphaelites. Giotto and especially Cimabue I didn't. his tongue. We can see from these words how important the Italian school was in Ge’s work, how firmly its foundations were firmly established for the rest of the year. The life of the artist: “This is what you need,” he exclaimed. Only on them. I've seen how precious it is. All our brilliant technique, knowledge, all this will fall off like unnecessary tinsel. This spirit is needed, this expressiveness is the main essence. paintings. We can say that Ge's prediction was fully justified; once upon a time "Significant technique" is now accepted as “Artisanism,” but how, therefore, Ge, in the midst of his rapprochement with the Wanderers, was far from them! - "We have to start again. You think. achieve Good science, technology, is an outdated method. We must develop the power of imagination.” Smart and far-sighted Kramskoy (continues I. Repin) I immediately realized that Ge on c to l to l to m n by t Kramsky's influence had a beneficial effect on Ge. He began to speak seriously to Peter and Alexei, but Then, excited by the resounding success of this picture, he could not calm down enough to modestly and restrainedly work out with due diligence. preparing your new ventures. With great faith in his imagination, he wrote what is called "from himself." Note, in that hard-working and conscientious century was considered almost a scam of buyers - paintings were estimated by hours of work! and no comments, pursuing only the main substance: idea and impression”. Pursue ideas and impressions, i.e. Consistency of content with form was then considered Here is the explanation of Ge's failures, and here we find that however Ge may have raped himself, the slightest success, the slightest hope. And they made him open up again. thoughts. But it was too much. "slippery slope." Giotto, as a model, in the age of mobility, is the discovery of a crack that no sacrifices on Ge’s part could fill.
Summing up the above, the foreign and St. Petersburg periods of Ge’s creativity will be represented as follows: the genius of Ge did not allow him to go level with the century, the artist or outgrown him ("Resurrection"), or He bent himself so ineptly that he did not satisfy even his contemporaries. Pushkin. There were, of course, two points in the process when touched level of the century ("The Last Supper" and "Peter and Alexis"), but the inspiration of Ge did not allow him to freeze. on Nem.
IX
Ge's dream of merging with society It was dispelled. On the threshold of old age, the artist can consciously look back at the past. The question arises in clear lines: either go the way laid down in it, even if completely alone, or forget your gift.
But the first outcome seems to be Ge is so impossible that he decides on the second: "I decided to give up art and went to live in the countryside" (1875). Then, a few years later, Ge explains a new twist in his fate: I was burdened with an unfree attitude to creativity. It was a heavy stone that had to be turned, it had to depend on material means, to be constrained by certain limits.” Here. further confirmation of our conclusion (at the end of the previous chapter); phrase "constraint by known limits" Ge points out that he consciously adjusted to the tastes of his contemporaries, himself not sympathizing with them, considering them to be "stone" for the real growth of his creativity.
Even more clearly slips the same in The following words of the artist: I I was not alone, and the question was: how to live? Art gives little, and art is not If it gives, thank God, it does not give, it cannot be blamed. But this was said not before the Petersburg period, but after Failure to try in the wrong direction.
We've already named this era. - He tried to become mediocre, but what ordinary talent perfectly manages to combine, Ge did not succeed; in him the worldly benefit and spiritual benefit were placed too far, and therefore, in striving for one, he always lost sight of the other. When I started working (on returning to Russia), me I don't know. narrow down task It seems that I would rather say "I didn't have to," but I wanted to squeeze myself. "Recognized frameworks" - mandatory at that time securing the sale of the painting. But Four years of living in St. Petersburg and doing art, c u u u And by the way, they led me to the fact that it was impossible to live like this, everything that could constitute my material well-being was contrary to what I felt in my soul.”
Again, inaccuracy. "Sincere" The training could not be contrary to the fact that "felt on my soul." It was the too naked awkward insincerity of his last two St. Petersburg paintings that made them so unpleasant to contemporaries and so much so. It is extremely unnecessary for the artist. “That’s why,” Ge continues, “I went to the village.” I thought that life there is cheaper, easier, I will own and this to live, and art shall be free.” But the explanation of his departure – for the sake of freedom of art – was put forward. Only later, Ge wants them to straighten, to make his life path more strict and slender; in reality, he thought at the time of the break not quite like this, namely: "No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no. on n now Art is not necessary at all. I tried to live in St. Petersburg, and I was convinced that it was all in words. Thus, the first hot conclusion He said that if society does not need him at the moment, then He should give up art.
We're coming. toward The epilogue of Ge's struggle with himself, in which His precious maturity was irretrievably destroyed. N.N. He did not pick up his hands in the years 1876, 77, 79. (Recollections) G.N.Ge. Memory. This fight, "Mercy" (1880). An analogy with The Garden of Gethsemane: There is the beginning of apostasy, here is the end. Here and there, trying to combine reality externally authentic, but into Mercy. The contradiction is even more intolerable.
Now Ge no longer easily and painlessly skew Your way, just like you did. Then everything made it easier for him - and the flexibility of his youth, and the sympathy of others, and the sweet dream of victory and leadership of his contemporaries; there is none of this here - the present fracture promised loneliness, rejection. And He resists him in every possible way; he is unable to restrain the creative craving, he still wants to direct it into the old one. It's about serving society. Hence the torment of Mercy. If The Garden of Gethsemane. The face of Christ is only unpleasant. a rough piece of raw reality, cut into a fantastic fabric, then in Mercy. It is painfully broken, a mosaic of scratching. each other's shards. With the wind of old age youthfulness all They are more and more powerful in their creation. These convulsive impulses personal, the only genuine painter creative law, knocked into turmoil common dogmas which he tries in vain to follow Ge in Mercy. Therefore This picture should seem nonsense to every calm viewer who does not know what the inner insight blinded the artist.
And criticism has reached the limit of sharpness. Take one as an example: “Ge’s painting is below all criticism. It's ugly without anything. mercy. You just get stuck in front of me. beforehand It's amazing. by its unnaturalness.” (Light and Shadows, 1880) A number of reviews last operation, set up To the brink of crisis, then either death or death. decisive healing. Fortunately, The last thing happened.
He is finally and consciously, instinctively Started in youth: Three historical picture I was fairly (The artist does not include here) destroyed equally exhibition "Mercy" so that step out circle to freedom, I don't. d d a where You can find the most intimate, the most expensive - your own and the world. (We think) The profoundly true thought of Ge, suggested by him his creative instinct that search into He will find the world’s most precious. perov He went there and did not go out only because an early death prevented him. Witness. household Paintings are not a living thought and will not save the artist. ought Go where the elder brothers, Gogol, Dostoevsky, went.
Movement It's over. place of the generally accepted dogmas, he put forward his law, on its He left the rest of his life.
We can take him. "symbol of faith." or not to accept and from here high to exalt Ge or humiliate him; but to judge the artist We have to through him. Only such a court will It's really about a person, not a ghost created by the appraiser.
From 1870 to 1882. Ge majority 48 of his portraits, countedly His brother, G.N. Ge.
Interesting lighting his portraiture wet We find him in his "Conversation with Students." The Kiev School of Drawing in 1886: I see you here until I'm 50. man. Try it. study every head. You will see that every head will require All your work is new - I have written more in my life. 100 I never had to paint in the same way.
Very instructive. It would be possible to trace the accuracy of these remarkable words in the portraits of Ge, but Now it's almost impossible, because location We don't know many of them.
But I think Ge He was not a portrait painter, nor was he. He was a landscape painter; both were only the accumulation of material for his favorite work – paintings. Artist sometimes even burdened I think it’s great that this year nobody invited me to work as a painter. It's the kind of torment I've already endured. nearly I can't. (1883)
If he was attracted to the face of the posing, he rose to the creatures. They were beautiful, but they were rather Not portraits, but tests through portraits to reflect themselves. Nana several portraits The artist is convinced that the He was flexibly changed according to his mood. influenced by him. Hence the joyful brightness of sunspots, overflows of grass and dresses. such A vivid portrait of Ekat. I. Ge with the baby. The collocities of Ge are inseparably connected with the posing person; it is like one face, and this face is a reflection of the mood of the artist. Hence a soft admiration letter "Portrait of a Wife" softness into drawing-room and blue Italian sky. About the portrait of G. T. A. Tolstoy The artist said, I painted this portrait with great love. Here. why I would like to put it on display to make it clear. No, no, no, no. supporter exceptionally material”. Again insisting on the main "a symbol of faith." Oh, that's only through love, through deepening form beautiful and real.
X
Before disassembling the latter period of creativity Ge, it is necessary figure out influence Tolstoy on Ge, because no doubt that Tolstoy He played a huge role in the life of Ge; but the conclusion from this is, where Ge-artist was impersonal A fat artist, too much. straight Really, at first. Ge tries. To obey completely: (L. Tolstoy) “Come firmly and well, and I will follow you” (1887); but this is a manifestation of the always-present trait of Ge. Maybe this constant craving Ge Give yourself up, forget yourself, these Heated hobbies first Bryullov, then the Wanderers, then Tolstoy - signs of extreme isolation Ge from contemporaries. The power with which he nurtured and embodied his great artistic task lean anyone appear They are natural, and perhaps absolutely necessary.
But as with Bryullov, with the Wanderers, and now - too much hard-fought spray yourself into the person of another precipitated the crisis. And like "post-Brullian." creativity We do not find a trace of Bryullov, and here - into "after Tolstoy." Ge - We don't find fatness.
“I realized that I was right that c and c m oh no I don't know. “He kept a whole life.” – 1882 Thanks. Tolstoy painful crisis It's over. Resurrection; he was cleansed from the wandering and returned to the ideals of youth; instead of sacrilegious considerations of uselessness artifice Ge's got it. tell It is better to end in hardship, but not to change. of his faith. I'm clean. I consider myself a happy man, and dying is like dying on gold. bed or under the gates, 1883
But it affected Ga. Only the personality of Tolstoy, not his teaching. If Michelangelo was the backbone of Ge into creative life, such It became a support for the artist Tolstoy in the earth life, but in neither case can there be any question of imitation.
The words of N.G. (The Golden Fleece, 1909) seem very true to us: “The last things.” Ges are connected on They are full of a different feeling, full of the tragedy that was in Tolstoy, but which is not in the spirit of Tolstoyism.
Ge loved in Tolstoy the trait that He was on his way in the last days of his life. i.e. His spiritual loneliness.
How Tolstoy was not interested in Ge, and this must be especially emphasized; we will show how oppositely were and A Fat Understanding of Art and Tasks shapes. In 1879 (i.e., years before acquaintance with Tolstoy Ge talking about him Why, when we live in a gray environment, and In books, you see everything gray, all the people of the top, when in geniuses we see grandiose creatures of the spirit that exalt us. But then, after the fascination with Tolstoy, Ge writer into 1888. already To the novelist himself: “Reading "War and Peace," me see a young, sweet friend who plenty Young, a lot of rudimentary. My criticism is that the invention of circumstances plays too big a role.”
I think the great gentleness Tolstoy, always peculiar him into intercourse on people on the one hand, and simpleness Ge, c. other - interrupt poignant their mutual bewilderment. Ge, glad that finally found long tip-point sympathy Tolstoy, sincerely. he wants his creativity to serve Tolstoy, but blinded With his inspiration, he's all on more pursue cherished and already does not notice how distinction theirs The paths are getting clearer. Ge reports on all creative torture Tolstoy: Yes, this painting (Crucifixion) I was terribly tortured, and I finally found it yesterday. that You have to. A form which is quite living (1893). Clear. indicated Ge's greatest challenge is alive form. But Tolstoy takes advantage of it. letter Only for a new attempt to put the artist on the desired path: I am constantly regretting that You. They left that series of evangelical paintings. It may be difficult to finish them, bring them to and he's not. well and technical perfection - I don't know that.
Ge strive bring in form to the utmost purity, hence The creative tension has reached him into recent years of the highest power. “I myself cry when I look at the pictures. I'm so glad that This is the most expensive moment me I saw it, not invented it. I p. in eh o o o o o o o o o o o o o o o l "At the end of the day." (1893)
Meanwhile, Tolstoy tells him something. "of a known degree," but Ge precisely doesn't see it. a fundamental disorder, absorbed in his idea; as well Not Tolstoy. notices, misses how irrelevant basic Ge.
They're both too much. They were all inspired by each other to close contact; inspiration as cloud, hiding peculiarities path of another; could only d You are each other as equal. We have already indicated that Ge- practicum Tolstoy guessed and loved his lonely spirit. How example guessing fatty n We'll get you. Tolstoy: I have a strange feeling of creepiness. toward most I have important things in life... and Your new job. It must be because everything new, new moves "of real life."
But guessing, of course, does not mean leading, and leadership present case not It was, like, not was mandatory The condition is to conquer the weaker by the stronger.
XI
Tolstoy spoke and wrote not that for him oil painting does not matter, that he understands the picture only as an expression of thought, and paints They even bother him. N.N. these words fatty I was so carried away certain timeless He wrote in paint and drew exclusively with pencil. Yekate. I. Ge
In pencil sketches evangelical topic (1882-1886) wet not find preciousness Ge, extraordinary sincerity, grand gift "like a child," but We see otherwise. beginning stencils, padding hands on defined shapes. But sticking to precision Tolstoy, it is and ought was must produce stopped famously necessary degree.
Do that. Ge - not into power, therefore; he not finishes sketches, but quickly passes from one to the other, for stop It meant to him to go deep, to finish. signifier seek "living form."
Tolstoy, of course, was not satisfied. these momentary sketches, he row "finished," understandable For all pictures, therefore instructs the artist: Not. I can. let out senile Advice: do less. It's rare. repent of what he did not do, and often What He Has Done in vain (1886)
This advice forces Ge stop, but Then he deviates from the direction of his master. aside "finishing" - to deepening.
The artist writes to Tolstoy, as if apologizing: I decided to paint all the paintings into d n oily paint. It will go faster, better and more convenient. for me, because Paper is very fragile, and it takes a long time to draw. (1886) Decision based seemingly best-performed lesson Tolstoy; but only from such a deep and innate colorer Like Ge, you can. I heard you write in paint. "rather" than paint. In the same 1886 painter writer Christ and Nicodemus.
Request for "two tones" forgotten; This painting is fiery. breakthrough long restrained color. And then Ge everything deeper leaves into your task-- colorful formal; from the advice of Tolstoy, he hears only those who answer his search. His last fascination ended, as did his former ones. broke through bark open It is a long-standing, smoldering creation.
. In 1889. painter writer Exit from Last Supper. It doesn't matter now. Whether this is an episode from the life of Christ, and which of these long, wrapped figures is Christ, but it matters. piece miracle The real, which arises when the real, as it were, is born again, passing through through The inspired brain of the artist, and It seems like the only one right now. picture-maker beautiful.
But is important It was a story and Ge himself, as he still insists in his notes and Letters? Sketch. Usually the first embodiment of the main idea. And sketch by Ge "Leaving the Last Supper" indicates that his principal task lunar that light marvelous transmission, through painful And the dead glow, the loneliness and the longing.
This picture is a clear continuation of the Resurrection and the Garden of Gethsemane. The theme here is the same as in the "Garden of Gethsemane", - night flickering, welding the earth, and the sky, and figures. singularly deathly longing. What is Truth (1890) may be the only "Tolstoy." picture Ge, and yet, It reminds me "movable" "Peter and Alexis," the same transfer. from artistic meaning to literary meaning, the same "narrative" darkening score artistic (in this case, contrast sunspot and "night" The faces of Christ.
But in the next work, Judas, the content is again extremely profound and needs no retelling. Pro This picture Ge wrote: shapeshift and I threw it twice; I thought I wouldn't. and here torment He did, I mean. wrote, and how It always does. into n - complete finished painting.
Every year. creativity ge with a striking, even convulsive, exactly in anticipation Soon cliff, force.
The Court of the Sanhedrin (1892) one most beautiful creation Russian schools and, above all, as a necessary stage for further development, as well as, for example, the Giotto It was a stage for Italy. We think it's a giant dream. Ge - indicate “The problem, the meaning of Russian art” is solved here.
Of course, only the future will tell how true such a high assessment is. But that it is quite possible that a work, the prohibition to exhibit which has been publicly met with general indifference, which not There was a lot of excitement and excitement, maybe. suddenly open up beautiful, so long as the ideal embedded in it becomes alive for us, shows at least our current revaluation. Icon painting.
After Sanhedrin. Ge decide to proceed toward His theme is “Crucifixion.” “N.N. He started writing. "Crucifixion." In 1884, I didn’t think he was a painter. He wrote so much of it and so on. Tormented. Yekate.I.Ge. We have more. There are several indications that the artist tries toward picture, but not all decides by saying that "not ready yet." However, Sanhedrin. showed What power can he embody? your thought as stronger greatness "from myself."
Together with growth creativeness grew and sharpness "fantastic." Back in 1886. Ge said, "One of the best ways." I don't know. yo p It is to remember what you have met dearly, be it light, be it form, be it scene, be it expression At the end lifetime This observation, the search for the right pollen for their honey, increased in Ge. Extremely: the moment when every man who gives feeling equally I couldn't suppress his instinct. Creating bees. He had to be told. The first moments of death: forehead, mouth already frozen, and only the nostrils saved the last rest of life. This terrible moment N.N. caught on his dying face wife. “This is what it means to be an artist,” said N. I was beside myself with grief, but I stayed. faithful and could not overlook as an artist. (Recollections) El. I. Strannoliubskaya.
Numerous sketches in oil, pencil, coal They show you which passion Ge catch up lost maturity He's in a hurry. somehow zigzag fix a new moment, a new glimpse swallowed his thoughts to Then, by squeezing those impulses. into one "living form" so that later whole All this complexity, all this increase to resolve simple-minded hit. "Picture" He worked with excitement like a young man. She's ready at 1.5. of the month (1894)
Ge admitted "Crucifixion." his The highest achievement: "My picture (Crucifixion)" into thought me brought before So what? Yeah, yeah. I'm sorry. well et Not me. A clue. that Ge understood Under the "limit point", we are represented by the following: words The artist: I write Crucifixion in the Christian sense, not in the Catholic sense. I say Catholic, because only Catholic. church Faith had art; other faiths, Orthodox and Protestant, neither had nor have. (1892) These words are the key to evaluation All of Ge's work; accept them, us We will accept and place the artist high; Without them, we will pass by him indifferently. They came before us. These words are the main stone of the creativity of Ge and together - touchstone We have a relationship with him, and he has a relationship with him. on Ge makes the following note: I refuse to understand and explain The significance of this strange thought, which contradicts all facts. European and Russian artistic history.
Emphasize primarily Ge What the meaning of art he understands in embodiment Faith is the spiritual essence of this people. If you agree with this Ge,
If we admit that the task of Russian art find out "living form", i.e. plainly one The mysterious trait that makes us We are a people who are special, and therefore alive and necessary in a number of other peoples, then we will agree with the affirmation of n Ge.
Indeed, Leonardo, Michelangelo, Raphael, each sideways They were inspired by the Catholic spirit and They gave him a form that was clear and pure. therefore most perfect (So let's add more, and I don't think so.
And, of course, such shape us Nope. And when we acknowledge this, we will recognize that The gee fought with amazing force the low artistic level of his time, that he with great consciousness He stood up and walked the true path of Russian painting.
XII
Finally, I want to touch on the fate of the last works of Ge; perhaps their history still reinforce Our provisions will further dispel the offensive For the remembrance of the last period of his creation, how manifestation The instability of his artistic faith.
After abruptly condemnation Mercy. fiction sort of strike out Ge from list of living; He was tolerated in exhibitions. only for his sake. former glory, and moreover, the last paintings of the artist - The Sanhedrin and the Crucifixion were not allowed at all. If the said works and sparked some interest In society, it was an interest. "Scandal"; of any artistic There was no perception of his work here.
How an example of the prevailing attitude of contemporaries to Ge, we will cite the rude words of Pryanishnikov, said about the "Crucifixion" and in the face of the artist: "You ..., N.N., a lean squint learned to eat from Lev Nikolaevich, and so To write artistically like him, no.
Ge Forgive and accept, and sometimes even on They were all praised. other than form, i.e., except that painter was c.e.
It's hard to think that Ge I could take one. monstrously unequal It was a struggle if Tolstoy had not given him the necessary support. Tolstoy in Understanding Formal Searches Ge stood on level contemporaries, but he understood Geh. struggler behind ideal He was a genius, so he could write to the artist about the Crucifixion: This is the best thing you have created, dear old man, it can be a good thing. Your final. In a word. And you will be appreciated only in centuries. Because He could say that about Tolstoy: Not long ago. me, I don't know. supported great And my dear friend, telling me that the meaning of my work in art is my service to God. This justification gave me the strength to fulfill my last painting, my task.
But to conclude that such support is a sign of weakness. Ge at least inconsiderately; in any case, such a statement has The power is only in the mouth of the one who could stand the most.
After the ban lay out "Crucifixion." Ge He said, "Me." I've been hit so many times I could get used to it. It still hurts when secut And beat his simultaneously and censorship and society and critics, and The most painful part of this crucifixion seems to us that those who wanted approve. Written. behind A few days before his death, perhaps the artist's last letter shows how worthy and calm fightback gave Ge This bullying. Letter addressed to P.M. Tretyakov; Tretyakov I wanted to empathize He said something that should have hurt Ge, if only we understood him correctly. Ideal: "You appreciated her (picture "Crucifixion")," he writes. Gee, and yet I'm this I don't get it. You said that she not artistically" and it's like and so on and so on her d d d d d and n t t in a. It's an old word, but it didn't exist. among us at a time of broad and mighty growth of Russian art. It could not have been, because it was You can't say art. alive it appears as protest of the living art movement.
But even today. creativity Ge how once reverse The one he was looking for, until now. till convinced that for content Ge contempt Form is artistic; but it is to be hoped that posture decisively Breakdown.
Add to this the following: the latest days lifetime Ge dreamt lucky "Crucifixion." into “The Russians will get this picture through Europe,” he said. Death. interrupt fulfill That intention. Pictures (2 variant "Crucifixions" standing Some time in the N.N.G. family, donated Tretyakov Gallery, but the gallery council, under on the pretext that these The pictures can not be shown to the public, soon expelled them from the meeting.
Now one picture The other is in Paris and the other in Geneva. But there they are. They were as lonely as they were in Moscow, and thus death protected them. Ge last-ditch Disappointment: Europe painting were equally as unnecessary as Russia.
If now creativity We're getting gay. It is clear and close, is it not a sign that we, in addition to Europe, are approaching? toward A new understanding of the meaning of art, we find "Face"?
Ge explained The meaning of his work is as follows: "Art has a free, independent life, and tried, and strive now free dependency, but release It will not be in the lowering of the ideal, but rather in the ph Yeah, yeah. This is the task that falls to me, and I consider myself obliged to do it, because it is what I love most.”
It seems that this task has now fallen to the whole of Russian art, that now it is based on Icon painting, the best of our artists XIX century, can lift Your ideal, you can. reveal canon beauty, born in the very historical course Russian creativity and forget the simplified international "Esperanto", which, under the guise of a requirement "artistic," pressed tongued best ours strength.