The artist depicted a deep faint for us. Impressionist painting in perception

Message quote Lilac blossom

The artist depicted for us
Deep swoon of lilac
And the colors of the sonorous steps
He laid it on the canvas like a scab.

He understood the thickness of the oil -
Its a baked summer
Heated by the lilac brain,
Expanded into stuffiness.

You can guess the swing,
The veils are unpainted,
And in this sunny collapse
The bumblebee is already in charge.

Osip Mandelstam 1932

Natalia Marusova. Hut and lilac.

Valentin Serov Open window. Lilac (sketch). 1886

The thunderstorm thundered, made noise,
Fading, it rumbles in the distance.
Golden rays are like arrows
We passed through the tufted clouds. . .

How many white and dark purple
The bushes have grown along the fence!
If you touch a branch, it will rain petals
The wet bunch crumbles,

In a light drop, fresh and clean,
The sparkling day reflected
And in the garden every dewy branch
Lilac smells triumphantly.

Vsevolod Rozhdestvensky

Pierre Auguste Renoir. Woman with Lilacs.

Jenny Nystrm. Syrenprinsessan 1904

Maria Bashkirtseva. Young woman.

Stanislav Babyuk. Conversation under the lilacs. 2004

Again she is seething, pale,
Flying lilac foam,
Kneeling again
There is silence before her.

What remains for silence?
Still unfamiliar with flying? -
Live to trust the wave
And become obedient and attractive.

The branches run behind the shaft,
It grows and fades without effort,
Sky line oval
Boldly outlined, like wings.

The lilacs are heavy
Barely straightened branches
But the pale wing is torn,
Becoming transparent from the light.

She flies to God's call,
Burnt with anticipation of the meeting,
She is the growing clouds
Either a prototype, or a forerunner...

What remains for us? Boil
Is it the soul, in a word, pale blood,
Dropping petals, fly,
Earthly sacrifice of love.

Nikolay Gumilyov

Sophie Anderson. The Girl with Lilacs.

Daniel Gerhartz. Amidst the Lilacs.

How festively the lilac blossomed in the garden
Lilac, white.
Today is a special - lilac - day,
The beginning of a blooming summer.

In a few days the bushes were dressed up,
Newly opened leaves
In large and lush clusters of flowers,
Into thick and wet brushes.

And we remember with what simplicity,
With what hope and passion
We were looking between the stars in the thick bunch
Five-petalled "happiness"

Since then they have bloomed before us so many times
Bushes of this generous lilac.
And if we haven’t found happiness yet,
Maybe it's just out of laziness.

Samuel Marshak

Vincent van Gogh. Lilac Bush (Lilacs).

Claude Monet. Lilacs in the Sun.

Eduard Panov. Lilac May. 2009

You didn’t go... (Carmensite)

The lilac laughed all day
Purple-pink laughter.
The sun stung the dry day.

You didn't go (Maybe that's what this sigh is about?)
You didn't go. The lilac laughed
Choking with flaming laughter...

Far away near the blind villages
The locomotive passed by with a heavy roar.
The lilac laughed evilly and despicably,
Killing dreams with sharp laughter.

Yes. But you didn’t go all day.
And I waited (Maybe this sigh is about that?..)
The lilac laughed until the moon
Mercilessly meaningful laughter...

You didn't go. There is damp shade in the park.
The heart is waiting. My heart is thundering.-
Will this lilac laugh?
Or will it fade, burned by laughter?!

Igor Severyanin

Boris Kustodiev. Lilac. 1906

Emile Munier. Young Girl with Lilacs.

Sergey Pivtorak. Lilac and cat.

Irina Moskaleva. Lilac reflection.

Edmund Blair Leighton Lilac. 1901.

Jacques Joseph Tissot. The Lilac Bouquet.

Tamara Lempicka. Spring 1930

Let's say - the buzz of a hive,
And the garden is drowning in concoctions,
And the backs of straw chairs,
And black grains of horseflies.

And suddenly a rest is announced,
And they drop things everywhere.
Distant youth in a honeycomb,
The gray lilac has bloomed!

Somewhere there are carts and summer,
And thunder opens the bushes,
And the downpour drives into the cassettes
Rebuilt beauty.

And the cart fills up a little
The vault of rolling air, -
Lilac building made of wax,
Having risen up to the cloud, it floats.

And the clouds play like burners,
And the elder’s speech is heard,
What does lilac need in a plate?
By settling and draining.

Boris Pasternak

Alfred de Breanski. Lilacs & Roses.

Albert Batashov. Lilac.

Evgeny Bitkin. Lilac in bloom.

Hans Gude. The Lady with Lilacs.

Anatoly Danilov.

Khachatur Azizyan. The scent of lilac.

Why are lilac painters faithful?
Because there are enough shades for everyone.
If you are young, if you are in love -
Lilac pays you with pinkish warmth.

If you are ascetic, a little harsh,
The cold blue of the branches will awaken you to life.
If feelings are boiling and your chest is worried,
White lilac flakes will cool the blush.

There are no more modest and simpler little flowers,
But, merging into heady, free brushes,
Taking away the shackles of everyday life,
We are being dragged to inaccessible heights.

S. Krasikov

Mikhail Vrubel. Lilac.

Mikhail Vrubel. Lilac 1900

Leon Louis Tanzi Algerian beauty in a lilac field.

Sophie Anderson. The Time Of The Lilacs.

First of all, we should fully reproduce B. Pasternak’s brilliant statement about M. Vrubel’s painting Lilac:

Fig.1 Lilac. M. Vrubel. / picture - see above /

"The artist dies, but the moments of happiness that he experienced are immortal."

For some reason, you unconditionally believe the Poet that when the artist painted this woman drowning in lilacs, his soul rejoiced, he was happy.

O. Mandelstam has a poem, probably as a response to Vrubel’s Lilac:

The artist depicted for us
Deep swoon of lilac
And the colors of the sonorous steps
He laid it on the canvas like a scab.
He understood the thickness of oil,
Its a baked summer
Heated by the lilac brain,
Expanded into stuffiness.
And the shadow, the shadow is getting purpler,
A whistle or a whip goes out like a match.
You say: the cooks are in the kitchen
They cook fat pigeons.
You can guess the swing,
The veils are unpainted,
And in this gloomy collapse
The bumblebee is already in charge.
May 23, 1932

Like it or not, I remember again in response to “The artist depicted for us deep faint Lilac" Pasternak:

--
"The artist dies, but the moments of happiness that he experienced are immortal."
--

And endlessly reducing the high style of presentation, I will share with you, attentive reader:

Hereinafter, a script is being written for the guitar-literary Artel “Neskuchny Sad” in honor of the 120th anniversary of the birth of B. L. Pasternak. This is the prose of life. But I select, so to speak, the elements of the composition according to my own understanding. Nobody forces me: this is necessary, this is not necessary.

--
A lilac fog floats above us.
The midnight star is burning above the vestibule.
The conductor is not in a hurry, the conductor understands
That I say goodbye to the girl forever.

You look into my eyes and shake my hand -
Will I leave for a year, or maybe two.
Or maybe you will lose your friend forever?
One more call and I'm leaving.

The last goodbye leaves your beloved lips.
There is anxiety and sadness in your big eyes
One more call, and the noise of the station will stop,
And the train will fly off into the lilac distance.

I remember the words that you whispered to me.
The smile of your sweet eyes, the flight of your eyelashes.
One more call, and the noise of the station will cease.
One more call and the train will leave.
--

But maybe lyrical hero of this song text it is with this dark-skinned woman from Vrubel’s painting (Fig. 1) that he says goodbye.

And now to the poetry of B. Pasternak. Let's try to guess twice when the Maestro experienced MOMENTS OF HAPPINESS. I mean, what poems by B.P. - witnesses of such happiness?

Maybe these:

--
Oh, I wish I knew this could happen
When I started to debut,
That lines with blood kill,
They will rush through your throat and kill you!

From jokes with this background
I would flatly refuse.
The beginning was so far away
So timid is the first interest.

But old age is Rome, which
Instead of tours and wheels
Doesn't require reading from the actor,
And complete death in earnest.

When a line is dictated by a feeling,
It sends a slave to the stage,
And this is where the art ends,
And the soil and fate breathe.
--

Moments of happiness and “lines with blood kill” - this is incompatible. Let’s look for something with a candle, or better yet, “the candle is burning on the table”:

--
Chalk, chalk all over the earth
To all limits.
The candle was burning on the table,
The candle was burning.
Like a swarm of midges in summer
Flies into the flames
Flakes flew from the yard
To the window frame.

A snowstorm sculpted on the glass
Circles and arrows.
The candle was burning on the table,
The candle was burning.
To the illuminated ceiling
The shadows were falling
Crossing of arms, crossing of legs,
Crossing fates.

And two shoes fell
With a thud to the floor.
And wax with tears from the night light
It was dripping on my dress.
And everything was lost in the snowy darkness
Gray and white.
The candle was burning on the table,
The candle was burning.

There was a blow on the candle from the corner,
And the heat of temptation
Crosswise.
It was snowy all month in February,
Every now and then
The candle was burning on the table,
The candle was burning.
--

In my opinion, attentive reader, the presence of MOMENTS OF HAPPINESS in the Poet when writing these lines is obvious and does not raise any doubts. Still would:

--
There was a blow on the candle from the corner,
And the heat of temptation
Raised two wings like an angel
Crosswise.
It was snowy all month in February,
Every now and then
The candle was burning on the table,
The candle was burning.
--

What more? And God grant that it would be just as good for you and me, reader. Well, the corresponding song should be performed live here. This is “Candles” by A. Lobanovsky, who lived here next door to us for many years. City of Biysk. And on big screen(through the projector) and the words of the song will be displayed for the audience:

--
The rain lurked outside the window,
The fog quarreled with the rain,
And looked at the light
Come to us this evening.
About something distant, unearthly,
About something near and dear,
Burning, the candles cry.

It seemed like there was nothing to cry about -
We seem to be living right,
But sometimes in the evening,
Sometimes in the evening
You suddenly sit down at the piano,
You take off the veil with the key
And you light the candles.

And the candles cry for people,
Who cries quieter, who cries stronger,
And wipe away hot tears
They don't have time.
And it's very important to me
That wax is not afraid of fire, -
That the candles are crying for me,
The candles are crying.

The rain lurked outside the window,
The fog quarreled with the rain,
And looked at the light,
Come to us this evening.
About something distant, unearthly,
About something near and dear,
Burning, the candles cry.

This is how we slowly approached you, attentive reader, to an optimistic ending. Which our Guitar and Literary Artel proposes to color with two or three bard songs per road.
The humor is that this scenario is quite viable and has been tested on a readership. But, of course, it will be securely packaged here.

Novosibirsk, [email protected]

The date of his death is April 1 (14). I want to remember the Master right now, when lilacs are blooming in St. Petersburg

NEVER TALK TO STRANGERS
Sometime in 1884, having arrived in Kyiv for restoration ancient frescoes, Vrubel turned to a passerby:
- Sir, how can I find the St. Cyril Church?
“Take a cab and tell him to take you to a home for the insane,” answered the stranger.
The riddle was easily resolved: the St. Cyril Church stood on the territory of a psychiatric hospital.
The gloomy omen, alas, came true.
Last years Vrubel spent his life, slowly fading away, in St. Petersburg hospitals. Blindness added to madness. His sister and wife visited him; my sister read aloud, my wife sang. One of the doctors recalled that sometimes the blind Vrubel took a pencil and with one stroke beautifully drew the figure of a horse, but if he tore the pencil off the paper, he could no longer continue.
On the eve of his death, he said to the orderly who was caring for him: “Nikolai, it’s enough for me to lie here - let’s go to the Academy.” The next day he was indeed taken to the Academy of Arts - in a coffin.

Vrubel was buried on a sunny spring day. The priest who performed the funeral said: “Artist Mikhail Alexandrovich Vrubel, I believe that God will forgive you all your sins, since you were a worker.” Alexander Blok delivered a speech over the grave: "...Vrubel came to us as a messenger that gold was interspersed in the purple night clear evening. He left us his Demons, as spellcasters against purple evil, against the night. I can only tremble at what Vrubel and others like him reveal to humanity once a century.”

BLUE-PURPLE WORLDS
He was a colorist from God. Here are the words of G.G. Burdanov, a Kyiv artist and Vrubel’s assistant for work in the Vladimir Cathedral: “Vrubel’s palette is again something unprecedented in its range of colors. The famous range of its lilac tones, isn’t this the line of seeing colors that a person does not cross?”
The artist seems to have crossed this line

And he conveyed a gamut of states, from a haze-like anxiety and sorrow in pictures with a joyful plot to a sizzling blue-purple flame.
Energy last picture almost no longer human. It is impossible to look at her for a long time.

And other paintings, on the contrary, fascinate, draw you somewhere deeper. Like this “Pearl” (1904). You want to turn it and look at it from different angles to see the play of colors.

It seems that Vrubel’s color language is akin to alchemy and magic precious stones. The crystalline space of color gives birth to images, just as vacuum is capable of giving birth to elementary particles.
“After all, I had no intention of writing “sea princesses” in my “Pearl”, - said the artist to N. Prakhov. - I wanted to convey with all reality the drawing that makes up the play of the mother-of-pearl shell, and only after I made several drawings with charcoal and pencil did I see these princesses when I began to paint with paints.”

LILAC
The princess of the blue-purple worlds is lilac. A flower that serves in the East as an emblem of sad parting

This is who the Master saw in the boiling clusters of her white-purple inflorescences. This is probably the nymph Syringa, from whose name the name of lilac comes - lat. Syringa.

Lilac is poisonous; its flowers and leaves contain hydrocyanic acid. If you fill a room with bouquets of lilacs and don’t open the window, you can get poisoned. And with Vrubel you just feel the intoxicating smell and sweet poison of the flower. Sometimes it feels crazy

It is interesting that the last portrait painted by the artist - Bryusov (1906) - initially had a dark lilac bush in the background. Bryusov was delighted with the portrait, but Vrubel did not consider it finished and continued the sessions. After 2 weeks, the entire background with lilacs was erased. “Mikhail Alexandrovich wished it this way,” explained the young artist, who visited Vrubel in the hospital and helped him wash off the background.

The portrait could not be completed. Vrubel’s vision began to fail. Bryusov claimed that the portrait in its present form “didn’t even reach half of that artistic power what was in it before". But, he ended his memories of the artist with the words: “After this portrait, I don’t need another one. And I often say, half-jokingly, that I try to remain similar to my portrait made by Vrubel.”

ISS
The easiest way is to connect the artist's creative process with mental illness.
But here is what Dr. Usoltsev wrote, who observed his patient day after day: “As long as a person is alive, he still breathes; while Vrubel was breathing, he created everything... With him it was not the same as with others, that the most subtle, so to speak, the last to arise ideas - aesthetic ones - perish first; they were the last to die because they were the first.”
Most likely, the Master's illness was the key that opened the door to worlds that in scientific language are called altered states of consciousness (ASC). They live there different images and entities that are not at all friendly to human nature.

The road there was paved by Castaneda, Harner (“The Way of the Shaman”) and many others with the help of grass, mushrooms and various practices.
However, you cannot get into the ASC out of idle curiosity. Because punishment is inevitable.
Vrubel's creative thirst took him too far. For which he paid with his mind, sight and life.
But he brought us a lot from there. And at the turn of the 20th century he showed the fallen Spirit, frozen tightly into the glacial space of our sad Motherland.

The artist depicted for us
Deep swoon of lilac
And the colors of the sonorous steps
He laid it on the canvas like a scab.

He understood the thickness of the oil -
Its a baked summer
Heated by the lilac brain,
Expanded into stuffiness.

And the shadow, the shadow is getting purpler,
A whistle or a whip, like a match, goes out -
You say: the cooks are in the kitchen
They cook fat pigeons.

You can guess the swing,
The veils are missing,
And in this sunny collapse
The bumblebee is already in charge. (Osip Mandelstam)

St. Petersburg lilac (June 2010)

Analysis lyric poem: collection of articles / under. ed. . . – Astrakhan: Publishing House“Astrakhan University”, 2005. – 104 p. ISBN -1

IMPRESSIONIST PAINTING IN PERCEPTION

O. E. MANDELSHTAM

Impressionism

The artist depicted for us

Deep swoon of lilac

And the colors of the sonorous steps

He laid it on the canvas like a scab.

He understood the thickness of oil,

Its a baked summer

Heated by the lilac brain,

Expanded into stuffiness.

And the shadow, the shadow is getting purpler,

A whistle or a whip goes out like a match.

You say: the cooks are in the kitchen

They cook fat pigeons.

You can guess the swing,

The veils are unpainted,

And in this gloomy collapse

The bumblebee1 is already in charge.

French culture has always interested me. François Villon and Gothic architecture are among key images his lyrics and prose. IN late creativity the poet's interest in painting is outlined, and of all directions Mandelstam chooses impressionism. In addition, the poet visited and lived in Paris and for him impressionism is not an abstraction, but a personal memory woven into reflection on the fate of civilization.

The poem "Impressionism" was the result of a visit to the Museum of New Western art in Moscow. As researchers have repeatedly noted, the poem has figurative parallels with the paintings of C. Pissarro “Boulevard Montmartre” and “Place of the French Theater in Paris,” as well as with C. Monet’s painting “Lilacs in the Sun,” which the poet could see in this museum. This becomes obvious if we turn to prose. The author gives a description of the pictorial style of C. Pissarro in “Travel to Armenia” in the chapter “The French”: “... Pissaro’s grey-crimson boulevards, flowing like the wheels of a huge lottery, with boxes of cabs throwing in rods of whips, and scraps of splattered brains on kiosks and chestnut trees "2. Images of Pissarro's paintings are hidden in the third stanza of the poem. The first and fourth stanzas have figurative parallels with the painting by C. Monet “Lilacs in the Sun”. In Mandelstam’s draft note (1932), the following lines were preserved, which are an auto-commentary to the poem: “... the lilacs of Ile-de-France,” flattened from stars into a porous, as if limestone sponge, folded into a formidable petal mass, marvelous bee lilacs - excluded ... everything in the world, except for the dense perceptions of the bumblebee, burned on the wall..."3

The word “impressionism” (impression), given in the title, is key to understanding this work. Impressionism is characterized by the recording of fleeting impressions real world in its mobility and variability, the image of instantaneous situations snatched from the flow. All this corresponds to the content and structure of the poem.

The author follows the synaesthetic principle of perception, when vision, sensation, smell, and taste are involved. The image, initially perceived visually, must then “ sound"colors, be tangible (" and paints sonorous he laid the steps on the canvas like scabs") and be comprehended mentally ("he Understood oil thickness", "purple brain warmed up", " guessed swing").

The dominant part of speech in the poem are nouns with a specific meaning (20 in total in the text): fainting, lilac, paints, steps, canvas, scabs, oils, brain, shadow (2 times), whistle, whip, match, cook, kitchen, depths , swing, veils, collapse, bumblebee. Another group of nouns with an abstract meaning (4 words): emptiness, stuffiness, density, summer. This quantitative and semantic composition of nouns clearly characterizes art world poems.

The author almost does not provide definitions for nouns. The text uses 6 adjectives that primarily characterize color scheme items. IN direct meaning adjectives are used (“lilac”, “lilovey”), which are one of the elements of the color naming system. Adjectives (“deep”, “bold”, “dark”) form a color gradation based on color associations. Deep in the context this poem(“deep fainting of lilac”) is an intensifying definition for the word “fainting”, then the metaphor becomes more complicated, and the phrase “deep fainting” already enhances the color sensation of “lilac”. Further lilac thickens towards stanza 3 in the plumage of pigeons (“cooks in the kitchen/Cooking fat pigeons”), acquiring brightness and richness, and at the end of the poem lilac turns into gloomy, thickening to the darkest shade. In this context, we can say that color is given in dynamics. Metaphor sonorous steps denotes a “sonorous palette”, which is distinguished by the absence pastel colors and the presence of bright, lurid colors, which can be explained by the perception of the coloristic solution of the landscapes of C. Pissaro (see earlier).

In the group of verbs and verb forms (participles and gerunds), 2 groups are distinguished:

verbs with action meaning - depicted, put, goes out, you say, baked, heated, expanded, underpainted, in charge;

mental activity - got it, I guess.

Verbs with the meaning of mental activity reflect the approach, the way of thinking necessary to perceive an impressionistic picture.

Despite the dominant positions of nouns in the text, the artistic world of the poem cannot be defined as completely static. The balance of dynamics and statics is achieved through images snatched by the author’s vision from the picture, just as an impressionist artist snatches them from the flow of life. At the same time, the immobility of images can turn into their instantaneous movement. In this case, special attention should be paid to the last stanza, where the dynamics are carried by such images as bumblebee, veils, swing. The balance of dynamics and statics is also maintained by rhyming words. Among rhyming words, there are pairs that include nominal parts of speech: lilacs - steps, density - stuffiness, swing - bumblebee, veils - falling apart, lilac+doves(adj+noun) and verbal: depicted-put(ch.+ch.), summer-warmed up(noun+cr. adjective), goes out - kitchen(verb + noun). Thus, narrative and descriptive lines are combined.

Contemplation of the picture is given from different points of view. The image in the first stanza creates a feeling of information being addressed to other people, as if the lyrical “I” is trying on the image of a guide. This position is set at the beginning of the first stanza by the personal pronoun “us” and the verb in the past tense “depicted”, thereby creating the artist’s detachment and viewers over time. This position is further continued in the second stanza and is revealed through the personal pronoun “he” and the past tense verb “understood.” In the third stanza the point of view changes. The lyrical “I” already becomes an ordinary spectator, addressing his companion. This position is reflected with the help of the personal pronoun “you,” indicating the person to whom the speech is addressed.

The change of points of view is closely related to the time plan of the poem. IN this work“anti-temporal tendencies characteristic of Mandelstam’s poetry of the 30s” can be traced4. The poet uses past tense verbs: depicted, put, understood. All of the words listed refer to the actions of the artist. Verbs in the present tense: goes out, cooks, guesses, hosts relate to the lyrical “I”-viewer. Verb you say is used in the form of the future in the present, which creates the effect of presence, involvement in the moment. Thus, the time line between the process of creation and the process of contemplating the impressionist landscape is erased.

The space in the poem is first limited by the canvas on which the artist puts paints, then their “stepping” takes the reader out of the limited visible space into inner world, the world of impressions and associations formed subconsciously. But at the end of the poem, the author returns the reader to the canvas by addressing the objective world of the picture. At the same time, the combination within one poem of images of three paintings and an appeal to the whole style direction creates the effect of volume, unlimitedness and comprehensiveness.

The comprehensive rhyme creates a feeling of semantic completeness, a change of different thematic plans, which is also emphasized by the syntactic structure of the text.

The first, second and fourth stanzas are complete sentences. The first stanza in a metaphorical form describes the manner of impressionistic painting, where “the sonorous steps of colors” in comparison with “like scabs laid” is nothing more than a poetic explanation pastiness. This style of painting uses “a thick, embossed layer of paint, often chaotic, with ridges and depressions that enhance the play of chiaroscuro”5. Considering that pastiness can be mild or deep, the word deep in the context of "lilac's deep faint" can be read both directly and in figurative meaning. The second stanza indicates the specifics color palette. The third stanza represents the associative impressions of the lyrical “I” from the picture. The fourth stanza is actually a description of a specific objective world, contemplated in the picture.

In selection lexical means The author proceeds not only from lexical and grammatical compatibility, but he also selects words based on the principle of sound consonances. For example, DEPTH O Cue - O BmoroK are brought closer together due to the consonants B, K, as well as the stressed O), SOUND – STAGES due to percussion U, STEP - SCARBS are distinguished by the initial combination of voiceless consonants ST. The text shows a through alliteration of the sonorant L:

Depict stanza 1 L- G L pathetic -ho L st-po L come alive L;

2nd stanza L-mas L A- L here- L And L ov;

3rd stanza L And L ovey-i L b-th L kill - x L yst;

4th stanza L b-wow L and – isn’t it L e-shme L b.

Such repeated repetition of the sonorous L makes the poem light, agile and flexible. The author resorts to stress shifts. The shift in stress in the rhyming word in stanza 4 highlights the key color.

And the shadow, everything is a shadow lilac (…)

Cooking fatty pigeons.

Impressionist paintings are conveyed as a single synthetic image, which is combined in the poem in a spatio-temporal, subjective, phonetic, lexical and figurative structure.

2 Ibid. P. 199.

3 Mandelstam. L., 1973. P. 292.

4 “World”, “space” and “time” in the poetry of Osip Mandelstam. M., 2003. P. 472.

5 encyclopedic Dictionary painting: Western painting from the Middle Ages to the present day / Trans. from fr. M., 1997. P. 706.

O. Mandelstam. IMPRESSIONISM

The artist depicted for us

Deep swoon of lilac

And the colors of the sonorous steps

He understood the thickness of the oil -

Its a baked summer

Heated by the lilac brain,

Expanded into stuffiness.

And the shadow, the shadow is getting purpler,

A whistle or a whip, like a match, goes out -

You say: the cooks are in the kitchen

They cook fat pigeons.

You can guess the swing,

The veils are missing,

And in this sunny collapse

The bumblebee is already in charge.

Here is a poem by Mandelstam, which poets, artists, literary critics, and simply art lovers are struggling to unravel. Thousands of pages have been written about this poem, hundreds of options have been proposed.

It has long been established that it was created under the impression of a painting by Claude Monet (modulation 10) called “Lilacs in the Sun.” It’s been a long time since we looked at every detail in the picture. (You also have this opportunity.) We tried to find the bumblebee that “rules” “this sunny ruin.”

The artist depicted for us deep fainting lilac.

The poet's irony is very well felt here. The fact is that the first and second lines absolutely do not correspond to each other.

The first is the traditional beginning of a lecture by a traditional museum guide. The second sounds so that, having heard it, a normal museum guide would immediately faint. Because after the traditional first line there should be an equally traditional second line. For example, like this:

The artist depicted lilacs for us under the hot June sun.

And suddenly something completely unexpected about the fact that the painting depicts “The Deep Fainting of Lilacs”!!!

And colors sonorous steps

He laid it on the canvas like a scab.

Why did colors become “sounding steps”? Yes, of course, because in music, as in painting, there is common concepts and words.

For example, the color scheme in painting and the range in music; chromaticity of color in painting and chromatic scale in music, musical and pictorial color.

But why the steps of colors sound ?

Yes, this is a direct analogy with the statement of Michelangelo, the genius of the Renaissance, who said: “ Nice painting“This is music, this is a melody.”

What could the line “He understood the thickness of oil” mean?

I think it’s nothing more than a secret continuation of the idea of ​​​​the connection between painting and music. For the “thickness of oil” is analogous to the density of sound. Oil is to painting what sound is to music. Musical sound can be thick like butter and transparent watercolor.

Its a baked summer

Heated by the lilac brain,

Expanded into stuffiness.

Since bodies expand when heated, summer expanded, like a body, due to the stuffiness it became materially tangible.

But what is this “lilac brain” that has “warmed up” the summer? We are talking, I think, about the brain of the creator of this heat on canvas. About the artist's brain. The brain, which, as it seems to the artist, has itself become purple due to huge amount lilac-lilac shades.

The brain of the master who recreated “cooked summer” on canvas.

It is known that the color purple inhibits all activity. When the heat reaches its limits, and the sun scorches mercilessly, purple spots appear before a person’s tired eyes from the light and heat.

And the shadow, the shadow is getting purpler...

Why is the shadow purple?

Yes, because on the right side of the picture there is a special clump of purple color, which can be seen as the smoke of the kitchen, which is located behind the trees. Therefore, the image of possible “cooks in the kitchen” who “cook fat pigeons” appears next.

But how do you know that pigeons are fat? And by the smoke. After all, when fatty foods are fried, the fat, flowing onto the fire, increases the amount of smoke.

But there is one line in this quatrain that is completely impossible to explain logically.

I will return all four lines and highlight the most unclear one.

And the shadow, the shadow is getting purpler,

A whistle or a whip, like a match, goes out -

You say: the cooks are in the kitchen

They cook fat pigeons.

This strange “whistle or whip, like a match, goes out.” What is this?

This is the case when I feel it, but apparently I can’t fully explain it. Still, I'll try.

The air in the painting is so dense, so saturated that if you blow a whistle, the sound will not pass through - it will go out in the density of the painting. It’s like not feeling the heat of a match in the heat of summer.

And the whip is not able to cut through this infinite density of pictorial texture. There is no room for sound or penetration.

Now you can breathe easy.

For the last lines of the verse are the very essence of painting not only of this impressionist artist, but also of impressionism as artistic direction in fine arts.

I give here again the last four lines and highlight the words - the most important for characterizing the painting of such impressionist artists as C. Monet and C. Pizarro, O. Renoir and E. Degas, A. Sissley and E. Manet:

Guessed swing,

The veils are missing,

And in this solar collapse

The bumblebee is already in charge.

Whatever art critics write about impressionist artists, thick books and dissertations - all these writings will be variations on the theme

GUESSED, UNCOMPLETE, SOLAR COLLAPSE.

For all impressionism in painting is hints, riddles, halftones, understatement, mystery, sun glare, collapses, sparkles.

In one word - “impressions” (from French impression -"impression"),

(For impressionist artists, see modulation 11.)

My friends!

Have you read everything I wrote here about Mandelstam’s poem?

Now forget...

Because I may be one hundred percent wrong in my analysis.

Or maybe... - fifty. Or ten (right or wrong).

But, of course, I’m wrong, first of all, in the main thing. The fact that he dared to evaluate impressionism from... positions reasoning logics.

How can I make up for my guilt? Only one. Invite you to listen to the music of an impressionist composer. And then, perhaps, he will be partially justified. First of all, with my comments on Mandelstam’s poem “Impressionism,” I wanted to take you as far as possible from all everyday problems, from all everyday problems. From everything that can be touched, rearranged, evaluated.

In order to create special condition, in which the main task of our life is to think that there can be a summer “expanded into stuffiness”, together with you try to appreciate the “sonorous steps of colors”, “the thickness of the oil”, “the swoon of lilacs”.

And this means that you are now ready to hear the music of the French impressionist composer Claude Debussy(modulation 12).

And everything we talked about before, we did with one goal - to sharpen to the limit our unique abilities to perceive details.

And that means something completely special. attention to every second of the music, to every movement, to every consonance or chord.

Impressionism is so fragile, vague, and mysterious that the importance of communicating with it both in music and in painting is akin to taking medications necessary for life.

What diseases should we “take” impressionism against today?

First of all, against the disease of the century - depression. Against stress associated with information overload. Against excessive pragmatism and sinister materiality life. Against all types of nervous overwork. To remove voltage. For awakening creative processes .

The paintings of Claude Monet and the music of Claude Debussy are a very special page in the art of Europe.

Having listened and felt the music of Debussy, you will take a huge step towards understanding music, the task of which is

Not to tell, but not to say,

Not to complete, but not to complete,

Not to assert, but to impress.

Not to tell, but to hint.

After all, even “the veils are not painted.” And the veil itself is already something vague, unreal, hidden. And when we want veil thought, then we do not seem to express it directly - the thought sounds like a hint.

Listen to Claude Debussy's prelude "Moonlight".

To perceive such music, I would suggest that you do not sit, but take horizontal position and maybe even close your eyes.