Lermontov's painting M. Yu. Lermontov's graphic heritage

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

When mentioning the name of Lermontov, few people immediately pop up his pictures in their heads. This is due to the fact that Mikhail Yurievich is associated primarily with poetry, since this facet is best known.

Besides the fact that Lermontov was an artist of the word, he was also a poet of the canvas. This means that he could masterfully convey the state of the lyrical hero not only on the sheet, but also in the paintings. His images look alive, convey emotions and experiences. Let's get acquainted with Mikhail Yuryevich, as an artist, and display the connection between his two incarnations - a painter and a poet. And also consider how Lermontov himself is displayed in the music and painting of others.

Lermontov as an artist

In many memoirs of friends of the Lermontov family, little Misha is described as constantly drawing something. Even in a child portrait by an unknown artist, he is depicted with a chalk in his hand.

It is not known for certain whether Lermontov studied drawing as a child, but it is known that already during his stay at the Moscow University Noble Boarding School he takes lessons from the famous artist A. Solonitsky. Then M. Yu. Lermontov came to the opinion, on which his teacher insisted, that everything should be natural and maximallyclose to reality. Such was subsequently not only Lermontov's painting and graphics, but also poetry.

After graduating from the boarding school, the future classic does not quit drawing. In St. Petersburg, he continues to study under the guidance of Peter Zabolotsky.

Not only those around, but also teachers noted that Lermontov's painting deserves attention. If he had not written poetry, he would have become famous as an artist, and it is quite possible that life would have turned out completely differently.

The volume of artistic heritage

Lermontov's painting has come down to us in relatively small quantities. But this is quite enough to form a general opinion about this role of the poet. Among the legacy are oil paintings, watercolors, individual drawings, sketches and even caricatures.

You can guess that this is not all the work that Lermontov had. If only because this is not enough to achieve the kind of skill that Mikhail Yuryevich had. Many of his works have been given away or lost.

Literature about Lermontov the artist is limited to a few superficial notes-notes. A general idea of his person in painting is given by B. Mosolova and N. Wrangel. But these essays have nothing to do with scientific, professional analysis that would draw a parallel with poetic works.

It is worth noting albums with sketches and manuscripts of works, where we find Lermontov's graphics. The picture is either a commentary on the entry, or the entry itself serves to explain the image, giving rise to themes.the most inextricable link between the two arts, the so-called syncretism.

Given the non-standard approach to creativity, it seems rather strange that Lermontov's artistic activity is forgotten. It is possible that this was done on purpose. Mikhail Yuryevich never had a special love for petty tyrants, and if this could be veiled in poetry, then sharp caricatures and caricatures cast a shadow on the authority of the then nobility and nobility.

Lermontov's paintings

Lermontov's painting has an extraordinary naturalism. There are several reasons for this. First, Lermontov belonged to an era in which there had already been a departure from the monumentality of the image, but modernism, calling for transformation, had not yet gained momentum.

Secondly, the first teacher A. Solonitsky accustomed to reality in the image of Lermontov, since he found reliability only in the exact display. That is, it is impossible to depict the landscape as the author sees it in comparison. It is necessary to present it as it is, and everyone will choose feelings and associations for himself.

Thirdly, Lermontov's contemporaries claim that he had an amazing, almost photographic memory, which made it possible to depict little things, without nature, having only sketches and sketches.

But with all the desire for an accurate display, this did not prevent Lermontov from developing his own style in painting.

Lermontov's watercolors

Since Lermontov's first teacher was a watercolorist, it is not surprising that the drawingThe writer himself became addicted to watercolor.

His watercolors, as well as those made in oils, are a graphic representation of what is happening in his works. So, while in the North Caucasus, he wrote more than one poem under the impression of the landscapes and life of the Caucasian peoples. But it is difficult to establish, if you do not look at the date, what was written first, a poem or a picture. It is also difficult to say unequivocally which of these works of art turned out more successfully.

Lermontov's painting is distinguished by the purity of the application of paints, without impurities. Extremely precise lines and skillful use of form make the image realistic and accurate. Although connoisseurs notice many mistakes, they are offset by the liveliness and emotional richness of the paintings.

Caucasus in Lermontov's painting

The legendary poem, which brought fame and popularity to the poet, is dedicated to the tragic death of Pushkin. It played a fatal role. On the one hand, he was forced to leave his home and serve his sentence in the Caucasus. On the other hand, painting in Lermontov's work has acquired a new, inspired direction.

A new motive appeared in the works - the North Caucasus and its tunes. By tunes, one should mean the themes and customs of the natives.

In addition to poems, Lermontov's painting tells about the period of the poet's stay there. The Caucasus appears for the first time as a romantic land. The rocks no longer inspire fear - they amaze with their grandeur, nature generously shares its beauties. Lermontov wasthe first to discover its romanticism in the Caucasus.

Poetic masterpieces of that time are like a poetic description of the paintings.

Oil Paintings

M. Yu. Lermontov's painting with images of the Caucasus is not limited to watercolors. One of the most famous paintings is Cross Pass, painted in 1837-1838

Lermontov himself called this region a "wonderful world", and compared people with free eagles. It is no wonder that the images of the inhabitants of the region itself are pathetic. But most of the paintings were painted from memory, as it was amazing for the poet. But this does not detract from the painting of Lermontov. The paintings are extremely realistic.

"Cross Pass" is the fruit of Lermontov's already more mature creativity. This is evidenced by competent construction, respect for perspective both in the dimensional sphere and in the transfer of colors.

Autograph drawings

The poet's drawings on manuscripts, near dedicatory inscriptions, in albums of different families are also interesting. This does not represent Lermontov's painting in the light in which it is presented in large canvases. It is not only made in haste, but also made in one color. Such a drawing conveys Lermontov's attitude to what or whom he painted. That is, he conveyed exactly those features that were most memorable, conspicuous.

There are many such drawings, since they were created in the course of work on another poeticwork.

The earliest graphic sketches that we know of today are sketches on the Ps alter. It's actually more of a fun fact than a work of art. They don't have the finesse of a pen or a special theme.

Lost Drawings

Lermontov's children's drawings were lost forever. We learn about their existence only from biographical records and letters of contemporaries.

There is also information about drawings with wax crayons. He did not just draw, but made volumetric paintings from molten wax. They are mentioned in several letters, but the search for paintings was unsuccessful.

Also lost are drawings from the album of Vereshchagina, with whom Lermontov closely corresponded.

Imaginary drawings by Lermontov

One of the drawings that are attributed to Lermontov's brush, but in fact do not belong to him, is the "Head of a Warrior in a Helmet". The main argument in favor of the false author is the handwriting, which is not the same as the rest of Lermontov's painting.

The second such picture is “Storm at Sea”. If the previous work was done with greater skill than the poet had at that time, then The Tempest, on the contrary, was drawn with an uncertain, sluggish hand. Whereas Lermontov during this period already found his own style and drew much better.

“Two Adjutants” is a picture painted by a close friend of M. Yu. Lermontov - Gagarin. This is evidenced by the characteristic features of the construction, selection and application of paints.

Besidesof these paintings, the stylistic features that Lermontov’s painting did not have are inherent in such: “Tombstone with an urn”, “Shooting Cossack on a horse”, “Head of a peasant”, “Caucasian view” and some others.

Poems in Lermontov's painting or painting in poems?

It is difficult to give an unambiguous answer how Lermontov's works are displayed in painting. It can be said for sure that these two types of art successfully complement each other. Depending on the picture and the poem, they served as an illustration to each other - depending on which saw the light before. So, the poem "Caucasus" was undoubtedly inspired by the romantic and enchanting landscapes of the area. And then poetry was displayed in painting.

The poem "Caucasus" is permeated with the experiences of the lyrical hero that at the dawn of a conscious life he is forced to serve in the Caucasus, far from his homeland. But he loves this land, which gives him so much pleasure from contemplating its beauties. To depict such experiences on canvas, you see, is difficult. But here the padding function works.

Lermontov's works in painting are illustrative and explanatory. Most of all it concerns portraits and landscapes. Wishing to convey the character, mood and features of the lyrical hero, the author, as it were, insists on his own version of the perception of the character.