Vasily Perov. The last zabak from the head. The work that displaced the level of spiritual ascent of the artist himself was his canvas (1868). The picture is written in the gloomy colors, and only bright flashes of fire beating in the windows, ready to break out. Kabak, this "Verettel Depravity", as Pereov believed himself, arises on the canvas, raised passions devouring man, his soul. This hellish fire filled all the floors of the establishment, all the space concluded in his walls, and even thawed all the surrender buildings. And around the soup, the horses stagnant in the cold, wrapped in a bab flock, lonely sitting in a sleigh. Judging by the chaotic rhythm of the tracks from the sleigh, which has passed the snow, the establishment is not empty in the afternoon or night. Nobody drives past him, so that last time, before returning home, do not take the soul. And therefore the Kabach is still stronger and is stronger than his passionate lights, and the world around, ice, is increasingly immersed in darkness. And a wide road flew around, which leads for the city. It rises along the hill, past the border columns, past the inconspicuous church, lost behind the trees, as if we bonded from the worldly scent. She stands, tiny, near the road, on the right, on the top of the hill. And here, on the same line, the artist is putting a removable conversation, from which no one turned to the church. Horses, drooping the heads, as if attacked, ride past. Tough Touch Towards Left, leaving the thick shadow, that, covering the road, the black loop stretches on the ground. It is noteworthy that this artist of the Church implies its limit removal. And at the same time, the distance between the grinding and the temple is extremely small, due to which its image is spatially close. As a result, there is a blatant inconsistency of the scales of the church and border pillars growing immediately to incredible, gigantic sizes, indicating the explicit image of the image of the church from the general perspective of construction. And yet there are no violations here. This effect is consistently caused, and it is achieved when using the old as the world of reception - the introduction of another one, new perspective For the image of the temple, which thus turns out to be in a completely different spatial environment. Composite feathers put a small church in the base of the lines running up from it. On the right - by Abris of the obelisk-raising ledge, and on the left - the diagonal of the snow-covered roofs. Thus, the spatial environment is identified with the heavenly sphere, it begins to exist as in the opposite perspective, ascending. And the light that fills it, in the same way more fragmented as it removes from the horizon, gaining its power, under the onslaught of which the night shadows retreat. And then the horizon line, coinciding from the top of the hill, the autumn temple, becomes border guard not so much between the sky and the earth, how much between the light and darkness. And therefore, the Church turns out to be a key link in the composition that made up the images of the two worlds: Dolly, with his hellish destructive passions, and a mountain, opening in the opposite perspective by the spiritual space of the Church, with its enlighteability and purity. Despite all its contrast comparison, independence and even self-sufficiency, the images of the first and second plans are nevertheless given not in the separation, but in close contact with each other. And even more so - with the identification of a binder between them, represented the way that the widest road that ran very close to each, giving everyone the choice of the path: to a paw or salvation. Unfortunately, the contemporaries saw in the picture only the "accusatory plot". While it focused here, according to the definition of Perov himself, the "inner, moral side" of human being, which was most important for him. Still never rose to such generalizations. Yes, and the very idea of \u200b\u200bchoosing as a moral self-determination of a person has never been able to be so clearly and frankly in Russian art. The painting "The Last Cabac of the Option", summing up a certain result of everything that the artist did in the previous years, became largely Liberate, and not only for himself. Laying my art a religious start, the artist raised the genre itself to such a height, on which the evil begins to be understood not only and not so much socially as morally, as a deadly ulcer, decomposing human souls. The moral measurement of evil is the new one that brought Vasily Perov to the domestic art. Paphos of the art of the master - not in the corner of evil as such, and in necessity and the possibility of man to confront the evil, in the approval of the inner, spiritual power, which is capable of lifting a person over adversity, sorrows and humiliation. Marina Vladimirovna Petrova.
1868. Canvas, oil.
Tretyakov Gallery, Moscow, Russia.
The extramarital son of the official who has resigned and served by the managing estate, he spent his childhood in the village. I received my last name for the ability purely, beautiful to write with pen. In 1860, he graduated from the Moscow School of Painting, Scary and Architecture. He was the most prominent graduate, and later both the professor of this school. For successes in the school received a big gold medal.
Perov was one of the first artists who boldly destroyed all the obstacles that separated Russian painting from the real life of a simple person, truthfully outlined the poor postreform village in Russia, the miserable existence of the urban poor. All the plots for their works of Perov took from life, watching it from all sides. After graduating from the school with his friend, the artist is spanking, they wandered around Moscow, observed and thought about themes for their paintings. The works of Perov are a witness of an accusatory nature.
Somehow they wandered (feathers with spinning) in Mytishchi. And saw under the shadow of the trees, at the table sits faded, Redorozhiy Hieromona, hanging out, drinks tea with a saucer; At the feet of his saczozh, from which the neck is sticking out. Behind him, Chernets, standing, drinking empty tea, he does not dare to sit in the presence of "Holy Father". "The Holy Father has already drank a whole samovar, and the young girl fills up. So the picture" Tea Party in Mytishchi "was born.
Next to the Blessed Pop stands the beggar cricle soldier - pulls his hand behind the alms. We see a hint attachment to His sequel, - maybe, under the Sevastopol left a hog-soldier foot? The servant pushes away his hand, dismissed the Pop look disliked, and the boy's boy stands, not daring to stretch his father's cards for alone. What a bitter note of sympathy for children sounds in the picture! There is no pretty resentment than the disadvantage of the child, and unbearable to see this timid figure of a boy - hungry and barefoot - next to indifferent incidence!
The most likely notable work of Perov, very consonant with the poem of Nekrasov "Frost, red nose".
The last time the Savraska of his owner is lucky, it is hard, slowly lucky to the mountain of sledge with the coffin of the owner. The coffin is covered with corporal. Two children stunned by a terrible loss pressed against him. Having lowered the reins, having embarrassed, on the front of Sanya sits a widow, mother. How many grief in her tendered head, in the hands of a baked back! Her bitterly in her soul, impertuous dooms. Died the breadballs, her husband - how to live now, how to raise children!? Notaren the fate of children, as well as in the work of Nekrasov:
"... Savraska was lying in half a snowdrift -
Two pairs of lapels
Yes, the angle of the corner of the coffin
Stick out of poor woods.
... guys with a dead man
Sat, not daring to cry ... "
Savraska woves, pouring his head. He stopped, lifting his head, howled the dog. Not only animals, but it seems, nature itself is experiencing with people their grief. The cold, felt in nature, the sad paints of winter twilight, the restrained gamma of gray-yellow-brown tones emphasize the lonelyness, the harsh tragedy of the peasant family.
I have not yet finished writing the picture of the "Ceremonies of the Dead", Perov conceived another - show only children, children of craftsmen, children of Moscow street.
Perov presented the winter, bright street, as if fell apart from people, from the street bustle of the sullen monastic wall. Along the wall, along the street, three children are carrying a huge garbage with water on the sled. Two boys and a girl were out of his strength, the wind tears their holey clothes, and they are still pulling and pulling their sleigh, the barrel from the icing sled, but some random passerby kept the barrel from behind and helps her carry. It is impossible without compassion to look at these causative faces of children, see these eyes filled with bitterness, suffering, flour. Severe paints of the winter landscape enhance the impression of the picture.
Perov quickly wrote two of extreme children, but for a long time he could not find the "Koreannik", the boy in the center "Troika". Once in Tver Ock, he saw tired pedestrians - an old woman with a boy. The artist was amazed how much the boy approached his type for his painting. Perov with difficulty persuaded the old mother to allow the son to write a son, that was all afraid that it was a great sin. After a long sentence, she agreed. The boy sat calmly; Perov wrote hotly, quickly, and the old woman, which turned out to be much younger at the closer look, quietly told about how her husband had buried, children and she had only the only son of Vassenka, his only joy. The picture was written.
Troika subsequently bought Tretyakov P.M. Once at the artist's apartment came some old woman. He did not recognize her, she reminded him of himself and could not calm down for a long time - everything cried. Then he said that her son died, she, burying him, sold everything, gathered a little money and came to buy a picture, where "her son was written off." Perov explained that the picture he no longer belongs and led it to the Tretyakov Gallery. She covered the room with her meek glance and rapidly approached that picture, where her cute vasya depicts. "My father is mine! You're mine, here's a chisel something embarrassed!" - And with these words, like a clipped, fell on the floor. A lot of time spent the mother from the Picture of Perov, no one worried her, and only duty filled with tears watched her with her eyes. "Sea of \u200b\u200bwords, and grief river, grief ride bottomless!,"
This bottomless human grief always and everywhere knew how to see and saw feather with his big and generous heart.
In this picture, the artist raises one of the most acute issues. public Life Russia of the 60s - the disadvantaged severe position of the woman.
The picture shows the first acquaintance of a merchant family with a governess who arrived. A young girl, having filled out, stands in the middle of the room and pulls out a letter of recommendation from the bag. Her emphasis is considering a merchant family. It is important ahead with a blunt expression of the face of the house and brazenly considers the "product". The household purses for his back looks in his own way and evaluates coming. Consider the governess and curious servants, but the attitude towards it is another, not master. Lonely standing in the center of the room is a young girl herself. Its strict, modest suit contrasts with a tasteless atmosphere of the room. It is hard to have a poor girl in this full, but a soulless family.
A few years after the painting "Ceremonies of the Differ" wrote "The Last Cabacter at the Ozda". Everything is immersed in the wandering misty MGLU of the imminent winter evening, it produces an irresistible impression: a yellowish-redhead strip of fog, the windows are slightly lightweight in the windows, and the heads are pillars with double-headed eagles and somewhere in the distance leaves snow-covered Sun road. At the entrance to the Kabak "Parting" Ponuro cost two horses harnessed in the peasant woods. Here is the last forehead at Kabak, in the sleigh sits, wrapped in a handkerchief, a lonely Russian woman and thinks his bitter Duma. She must have been sitting for a lot of hours and is waiting for her husband, waiting for a bad, patiently, maybe even regret it. Then, drunk, lucky his home and also tolerance will tolerate his beatings, silence and work, not to blame the back to death.
"... share you! -Russian dot women's!
It is hardly difficult to find!
No wonder that you are tight until time
Of the Miscellaneous Russian Tribe
Multi-chase mother! "
A very small picture. Written perfectly, with harsh ease, without any extra details. The wooden table covered instead of a tablecloth is some fad-pink rag, a man is sitting. On the table an underwear glass of wine, a bottle, a card. In the hands of a guitar man; He moves strings. Who is he, this ugly, crumpled man with such sad eyes?
Among the portraits written by Perov, the portrait of the writer A.N.ostrovsky is especially allocated. Perov loved Ostrovsky's plays, often watched them in the Small theater, visited the very island, who knew well. And he wrote it as you used to see at home, - in the old Belichi Tuluptic. He sits on a chair, leaning a little later, and looks at the audience smart and good eyes.
At the edge of the forest, hunters are located on vacation. Their three. One of them, apparently, the old baraineer tells about his fantastic adventures on the hunt; The hunter is not a greater listening to his story, I forgot to even smoke the cooked cigarette; In the center of the yamchchchchik, the peasant is incredulously scratching the ear - he knows well what these hunting stories are! Near on Earth - rifle, hunting mesh, broken game.
Description of the painting of Perova "The Last Cabak from the Ozpaspa"
This work is considered one of the best in Perov written in 1868.
According to many critics, this picture has a simple story.
Looking at the picture I saw the outskirts of the town.
The artist portrayed the winter season, the picture shows the evening.
In the distance, I saw the sunset, and the rays of the sun are already practically not illuminated by the street, and residents of the city have already lit in their homes the light that we see through the windows.
The artist drew the road, which is listed by snow, and two sleds with harnessed horses, a girl sits in some of the sleigh pictures.
It seemed to me that the girl frozen and dressed in the poor.
In the background of the painting, the artist drew a stamping, or rather her obeliski.
In my opinion, the author had a lot of attention in his work sunset.
Very thoroughly tried to draw and give us a sunset using paints of different colors, ranging from light blue and ending with light yellow.
If you look at the picture, then in general it can be noted that it is made in dark colors.
Looking at this picture involuntarily experiencing a feeling of longing.
In my opinion, the artist tried to attract our attention to the figure, poorly dressed, frozen girl in a sleigh, she is the personification of the peasantry.
According to historians, the road that goes into the distance symbolizes nothing but an unknown future, with hope for a bright future.
I like the paintings of this artist.
In my opinion, he tries to bring his works closer to a real vision, but looking at this picture becomes sad.
This picture produces an indelible impression and makes think about much.
For example, that we have ceased to appreciate what we have, and more and more chasing the status and buttofa things.
We became more important than the phones and computers, rather than people who surround us.
We began to neglect the fact that we have, and we do not pay attention to the people we are inappropriate offended.
The last zabak from the head. 1868. Canvas, oil 51.1 x 65.8 cm. State Tretyakov Gallery,
V. G. Pereov with great skills creates such works, where themes are addressed deeply dramatic, even tragedy. Painting "" The work of the most perfect in artistic images and picturesque advantages in the creative heritage of Perov. It goes to the horizon of the winter road, dyed by the sleda "th. Along the road wooden houses Outskirts. The pillars of urban gates with double-headed eagles are visible. At the door of the latter, the Zabak's outpost is standing in anticipation of their owners two silent. Apparently, they are here for a long time. In the sleigh sits, wrapped in a handkerchief from the cold wind, a lonely female figure, she is in patient, submissive waiting. There are in the "Last Cabeck at the outpost" the feeling of tosquito and grief from a loose-free peasant lobe, leading to the Kabak in search of the only oblivion. Externally, a simple picture has a big dramatic tension. Blue-gray snow, unsightly dark houses with reddish-yellow lights of subheaded windows, at the horizon, behind them, black silhouettes of urban outpost buildings cause a feeling of anxiety. The whole picture, exertion / sledge in a single tonality, transmits a sense of loneliness and cold. If in the foreground among cold colors there are warm tones, then they are getting colder and colder to the horizon. This conveys the feeling of twilight descending into the city. Frosty wind, launched along a wide street, lines standing sleigh, windows of houses and permeates the peasant to the bones, waiting in the sleigh. The emotionality of the landscape reveals the content of the picture "" - the tragic doomedness of the Russian peasantry. Strengthening the emotional role of the landscape in general, in this period, characteristic of Russian literature and painting. In Perova, the emotional landscape has become a means of disclosing the psychological characteristics of acting persons and events.
N. F. Lyapunova V. G. Pereov (M., Art, 1968)
Drill. 1867.
ABOUT! As this description, my pale and sorry comparatively with reality !!! I miss neither the ability or the strength of the word, so that at least conveying this, the soul of a tearing cry, this is despair that has created his dead life, a great sinner !! " - recalled Perov.
Despite the fact that Fanny died from Chakhotka and that on the hand of a woman in the painting - a wedding ring, the image of the "dead great sinner" from the story and drowns from the paintings were combined together, so that the viewers who are familiar with the story of Perov, no doubt That the drowning is the fallen woman, which "Wednesday", which gave a reason to one of the researchers: "All the emotional construction of the paintings, intense with her drama of Perov speaks about the tragedy of a clean soul. He wures her, like Dostoevsky Sonya Marmaladov in a crime and punishment, a year before the drowning, which appeared in the press. "
The picture has another literary parallel - the verses of Thomas Hood, the English poet, highly appreciated Perov. According to the testimony of the only biograph of Perov, the plan of the drowning was inspired by the poem of the Hood song about the shirt:
Seamstress! Answer me what can
Compare with your expensive?
And bread daily more expensive
And the famine is disturbing,
Gnit a lonely bed
Under the booms of autumn rains.
Seamstress! For your back
Only dusk noise rain, -
You slowly pale handle
Check yourself for peace
Canvas, which is folded halve
Shirt for darkness chobs ...
Work, work, work,
As long as the weather is light,
Lookout stitches without an account
Playing, flying, needle.
Work, work, work,
As long as he died.
Written by the same "dreary" size as many poems of Nekrasov, a song about the shirt really echoed with the hopeless genres of Perov, although the fate of the poem's heroine remains unclear, but tragic. By the way, about the girl who rushed to the Thames, without making everyday burden, tells in another poem of Hood - the bridge of the sigh.
One way or another, the drowning is one of those pictures that the viewer with inevitability should think about poverty, misfortunes, desperate suicides, fallen women, human workers, etc., although this work Perova is one of the least narratives.
Last Cabac Sawa
It was the top three and a drowning one with the wires of the dead gave a reason to speak about Perov as a "sorrow poet." But at the same time, faith in correcting evil by force alone only truth, by visual demonstration of this evil, began to fade. Perov remained the leader of the "critical realism", but the leader is lonely. Apparently, he himself realized this, since at the end of the 1860s, other motives are beginning to appear in his work, which are not peculiar to the former singers of grief. For example, a scene railwayWhere a gun of men and women in amazement looks at the steam locomotive, "the controversial plot, indicating only that Perov again" does not find a place. "
Scene at the railway. 1868.
State Tretyakov Gallery, Moscow
In the same year as the drunkenness, a small picture of a drawing teacher, started in Paris, was completed. It was written as a memory of the Pereov's colleague, Petra Skmelkov's drawing. The poor teacher prohibits the days alone, earning the living by private lessons and correcting the eyes and noses drawn by novice artists. The monofiguric composition is rarely encountered in the painting of the genre of another, written in two years earlier, guitarist. In these paintings, the existence of ordinary people, who are not victims of evil, nor its sources, but simply live themselves, but this life is immersionless, but why it is unclear. Interestingly, it is about these two paintings that we unexpectedly find a positive judgment from the very hostile perovy camp - from Alexandra Benois: "If I found out that for some reason killed ... the arrival of the goover or the procession, I would be very And very upset. I will add another wonderful Bobyl (by the way, Favorite together with the teacher drawing a picture of Serov). "
Perhaps these two pictures are a rare first version of the genre, which allows you to recreate the globalization of the artist himself who has passed the band of hopes and aware of the utopian the possibility of a quick "correction" of life by showing its unsightly "in the pictures".
Drawing teacher. 1867 Etude
Ivanovo Art Museum
Guitarist Bobyl. 1865.
State Russian Museum, St. Petersburg
The result of these sentiments was the picture of the last bank from the outpost. Outskirts. Anxious winter twilight. Street, joining a narrow gate, goes far into the wide smooth fields. The road takes the entire width of the first plan, which is why the viewer is drawn to a peculiar spatial funnel: the road is cool up, the vertical movement is picked up by the stroke pillars of the outposts and beyond - barely noticeable birds of birds. The foreground will emphasize the blocking the road to Sanya, but this is only a temporary stop. She allows you to see a dream of a woman's figure in a sleigh, an illuminating dog, the dull windows of the Kabak under the sign "string". In the gray, cold windows dusk flash the warm light, but it is not comfortable lights of a homely focus on a frosty evening street. Behind their anxious turmoil, a drunk volunteer is guessed.
Perov uses dissonance cold and warm tones: the reddish light of the windows is quenched with dense winter twilight, and the lemon yellow sunset acquires an ice shade. To meet all the movement in the picture, but the sky is also indiscriminate as an uncomfortable street and an ominous zabak.
Forcing a look to slide on the furrows of the road, the artist gradually inspires a wish, together with the feeling of the impossibility of breaking out of this sad monotony. Here, unlike previous paintings, there is no narration at all, and even nothing to "draw" in the imagination, except to remember the Nekrasov rows that
For the stamining, in Kharchevna, the poor
Everyone will eat men to the ruble,
And go, beats the road,
And gallow ...
But even this plot turns out to be only reduced to the burning windows of the Kabak. Because here "nothing happens here," it becomes especially sad. The female figure in the sleigh does not express anything; The dog, who in the previous pictures was given the role of almost the most active acting person, does not work, does not bother, it does not run, but simply stands, and its wool Treplet gym. When in the pictures of Perova, at least something happened, and this happening was evidence of evil, which can be negotiated and overcome, it was assumed at least that this evil is specifically, it can be called it, you can specify it. And here it becomes literally ugly, that is, not a picture, innumerable and indefinable. Instead of the new, the content function of the word is paramount to acquire its intonation. This is music forgings, despondency and indifference, monotonous life, where there is nothing to stop the eyes. She is not dull, not inevice, but in general "no".
In the first plan, on the left in the picture lies a broken twig, exactly the same as in the top three. This part, apparently, "peeped" perovy in nature and automatically repeated in two pictures, it seems to do not mean anything, except for the inattention of the artist to small details, but at the same time can cause annoyance - "Everywhere the same thing!", - Relay , Including, and to the first-shifted life, which seems to focus on the "Arshina of Space". Also at a large time interval repeated in different patterns (tea drinking in Mytishchi, a boy who is being prepared for a fight, fisherman), for example, the same clay jug.
