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Zosim Lavrentyev: Portrait of Mother Z. Lavrentyev, a prominent Mari painter, works a lot in the genre of portrait. The heroes of his canvases are people of labour. They attract us by their beauty and nobleness, moral purity and their unlimited ability to work. Z. Lavrentyev was one of the first artists who presented his native village with a collection of his paintings. They made the foundation of the local Museum of Military and Labour Glory. Among his paintings is the portrait of his mother (1970), whose light and lyrical image is especially dear for the author. In the portrait one can feel home warmth and particularly cozy atmosphere, which immediately influences the viewer. In the foreground we can see Christina Matveevna who’s got a bit tired and is sitting on the edge of the bed, having a short rest from the household worries. The woman is wearing a light dress with the flowery pattern; her head is covered with a white kerchief. There is something supernatural, heavenly in the image of the old woman; her kind round wrinkled face seems to be lighted up by her son’s brush. But in front of us is sitting not an angel, but the real woman who has lived a complicated life. Merry lights are burning in her eyes; the inner beauty of the woman is reflecting in the simple expression of her face. Her hands are resting on her knees; toil-hardened from hard continuous work; they are with large, like old roots, knots which testify to the fact that the woman has had a difficult fate, typical for many women of that generation. The author makes the viewers worship these firm strong industrious hands. They convey the main philosophy of our life; they are the symbol, the main criterion in evaluating people and their achievements. The white dress with blue flowers, the light green pillows, the hand made patchwork blanket, wallpaper of golden hue on the walls of the room create the major and cheerful sounding. The portrait is placed in the very centre of the artist’s workshop and is framed with fifty silvery metal bells which were given to the painter by his friends on his 50-th birthday.
Ex.7. Read the text and do the tasks after it. Ivan Yamberdov – a bright representative of the Mari Art One of the brightest representatives of the national painting is Ivan Yamberdov, a member of the Union of Painters of Russia, the Honoured Worker of Arts, Mari State Prize Winner. I. Yamberdov is a monumental artist not only according to his education but according to his mentality as well. The very soul of the ancient Mari culture is talking to us today with the help of Yamberdov’s canvases! First of all, we are impressed by the choice of colours in his paintings. He is a great colourist and it is specific coloring that carries powerful emotional influence to the viewers. Yamberdov becomes the means of learning and expressing the ethnic feelings and emotions: troubled, gloomy, anxious with dazzling flashes of hope and light as the signs of the coming truth, self-identity, self-possession and self-realization. In his pictures “Lilac in blossom”, “Near the old oak-tree”, “The red mountain ash” we often meet the characteristic Mari archetypes: a horse, an owl, a sacred tree, cosmic luminaries. The sacred tree acquires the oecumenical sense. The artist places it into the center of his composition, motivating it by the fact that it represents the axis of the world, its position in the center provides us with balance and stability of the Universe. This image is the key image in the Mari culture, connected with the forest, found its harmony exactly in the conditions of a forest zone. The Mari language itself sounds like the rustle of the foliage. In the canvas “The oak-trees” the artist depicted a real grove, which came from the reminiscences of his childhood. But in this concrete case it has deep universal meaning. Along the skyline, past the grove the horses are tearing at a mad pace as well as the time itself is rushing in spite of everything. The idea of the inexorable cruelty of the time is proved by the position of the trees in the picture – at first we see the trees – young, slender, reaching the clouds in the sky; then – mature trees: firm, strong, but not very high; and at last, near the edge – an old, crooked, almost branchless, dying tree. The unhappy thought of transience of a human life comes into mind. But at the same time w have hope for revival. The old oak-trees in the pictures “The Land of Forefathers” (1990), “The Distance of Memory” (1986) are not so lonely. Next to them we can see young full of energy trees, stretching to the sunlight. In a number of paintings we can observe the appearance of a sacred image – a white horse. In the canvas “The White Horse” (1993) the central place is occupied by an old tree with dry branches. In the crown of the tree there is an owl’s nest (an owl – a symbol of wisdom) and in the heart of the tree is shining a star. From inside the tree, towards the spectators is coming out a white horse. This mysterious event is being lit up by the Moon, the keeper of all unconscious. The image of this beautiful animal so important for the Mari culture was the leading theme of the grandiose personal exhibition of the artist. It was organized under the title “The Horse Herd” in July 2002. It is necessary to mention the colours of the horses in Yamberdov’s paintings. If in early works of the realistic period everything is quite obvious and clear, then since the 1980-s the colours have got symbolic content. They are red and white, the colours that bring nearer the artist to the traditional Mari colour gamut.
Ex.8. Write to your English pen- friend about a famous Mari painter with whom you got acquainted last year. Render the interview he gave to you in English. Интервью с марийским художником Б.И. Тарелкиным Расскажите немного о себе. Есть ли у Вас художественное образование? Давно ли Вы пишете картины? - Я родом из Краснодарского края, после учебы в Художественной школе в 1971 году приехал в Марий Эл по направлению. Начал писать картины с конца 70-х годов. Помните ли Вы свою первую картину? - Да, конечно. Первой серьезной картиной стала работа, которую я назвал «Предзимье». Это был пейзаж. Какие звания Вы имеете? - Я получил звание Заслуженного художника Марийской Республики. Как началось творчество на военную тематику? -Я начал рисовать портреты ветеранов с натуры. Для этого, я созванивался с ними, договаривался о встрече, при встрече слушал их рассказы, чтобы «вложить душу» в картину, и только затем я писал их. Когда Вы начали выставлять свои работы? - С конца 70-х годов, я ездил по домам творчества России. Так я побывал в доме творчества Горячий Ключ, где и были выставлены несколько моих работ. Так же раньше существовала выставка под названием «Военный поток: Дом творчества Академическая Дача». Там я писал картины на военную тематику. Как Вы работали над своими картинами? - Работало нас несколько художников. В основном мы писали картины зимой, по 2 месяца. Руководили нами заслуженные художники с Военной студии им. Грекова. В основном эти работы проходили на Всесоюзные выставки, проводимые в городах Москва, Волгоград и др. Есть ли у Вас любимые художники, работы которых вдохновляли Вас или просто заставляли восхищаться? - Думаю, что большое влияние на мое творчество оказали работы московских художников Н.И. Соломина, В. Дмитриевского, Е. Корнилова. Что вдохновляет Вас и влияет на Ваши работы? - С детства я жил в тех местах, где прошла война, поэтому, я вспоминал свои детские годы и писал картины. Считаете ли Вы, что тема войны со временем забудется? Каким Вы видите будущее для художников пишущих на тему войны? - Война – кровавый след в истории нашей страны и он никогда не будет забыт. Но понимание уже притупилось. Молодежь видит войну другими глазами. Конечно, есть хорошие картины – автор сопереживал, когда писал ее. Но встречаются и такие, что сразу видно - написано без души. К таким картинам я отношусь отрицательно. Когда была написана последняя картина на военную тему? - Последней картиной, я считаю полотно под названием «Народный маршал», написанное в 1995 году. После нее, выставки стали малочисленными, вследствие чего, я постепенно переключился на другие темы. Ex.9. Read the text and do the tasks after it. Boris Sergeevich Pushkov – a distinguished Mari painter Boris Sergeevich Pushkov (born in 1931) is the Honoured Art Worker, State Prize Winner (1976). He was one of the founders of the Mari regional department of the Painters’ Union of Russia. Hs canvases entered the “gold fund” of the Mari painting. His canvas “Privolzhie” (“Near the Volga River”) (1959) was the result of long-term creative search and the first Mari landscape, which was presented at the prestigious exhibition of the country – “Soviet Russia” (1960). The author tried not only to depict the condition of the nature, but to express the mood of the soul, to create the integral artistic image. When you look at the painting, you see the magnificent panorama of the Mari land. The landscape is represented from the top, from a bird’s-eye view. The composition of the picture consists of the classical triangle. In its apex – a train, pulling the platforms with wood. From the top to the edges of the picture go the rays: on the left – a highway with a great amount of cars, on the right – a thick stripe of forest. Yellow-greenish canopy of the young birch-trees, the blue sky with transparent white clouds, the emerald verdure of the winter crops – all this gives birth to the feeling of freedom, symbolizes the triumph of life. The light puff of smoke of the steam locomotive is floating over the train and, merging with the clouds, organically enters the canvas’s space. The painting embodies the intensive rhythm of the country life in the late 1950-s. At the exhibition “Soviet Russia” the painting “Privolzhie” was in the center of attention. The Volga-River often drew the artist’s attention, and he created such pictures as “Near the Big Volga” (1961), “Above the Volga” (1961), “Mother Volga” (1967). In these masterpieces you can easily hear the anthem to the mighty river and see its power. The logic of the composition is clear, intensive cold violet-blue gamut makes the sublime image. Nature is depicted like something grandiose, powerful in its essence, unconquered by the will of a man. The landscapes painted by Pushkov are characterized by particular emotionality, touching trustworthiness. Among them “Autumn Forest” (1969), “Autumn” (1966), “Spring at the Ilet River” (1970), “April Azure” (1971), “Morning” (1966), “Evening” (1969), “Gloomy Day” (1971). The painter skillfully re-creates the state of each day and each season. Despite the variety of motifs, they all have something in common: the features of majestic solemnity. The author uses the high point of view, which allows to show boundless vast open spaces of the country. The main role is played by the sky. It is a musical key, which gives to each canvas its own character and expresses the definite state of nature. Very expressive is the painting “Elnet” (1967). The calm facial expression of the heroine, her tender smile, attentive and careful look testify to the kind character of the girl. Her image personifies the Mari ideal of the female beauty. The picture “The Harvest Festival” (1969, new variant – 1972) shows the life of the Mari people in much wider aspect. In the middle – a grey-haired noble old man, next to him – energetic, carried away by music, middle-aged man with black hair and a beard. Near them – a young boy who is ready to dance to the tune, performed by the Mari bagpipers. The canvas gives an idea of the Mari folk art with its national embroidery and home-made clothes; it also conveys the peaceful mood of the farmers during the traditional holiday of the harvest. Later the panoramic Pushkov’s landscapes were replaced by the pictures with more chamber character. Such works as “White May” (1978), “Winter Morning”, “March Evening” (1979), “Silence” (1980), “Motherland” (1981), “Morning Dew” (1982) absorbed in themselves new qualities – lyricism, inner trepidation, elegiac mood. Looking at them you feel the flowers’ aroma, the herbs’ scents; you are imbued with deep love for nature. Sonorous painting, richness of colours, emotional pungency put B.S. Pushkov’s canvases among the most remarkable works of art. Ambitious and energetic, Pushkov once fell in love with art, beauty of the Mari Land, and he tries to make us, the viewers, feel and think the same.
Ex.10. Read the text and do the tasks after it. P. Shaberdin – a famous Mari sculptor Shaberdin Philip Pavlovich (1914-1979) was born in the village of Mushka (Sernursky Region). In 1939 he graduated from the Teachers’ Training College in Sernur. He participated in the Great patriotic war. He entered the art world as a folk craftsman, a woodcutter. He didn’t copy the plots of the fairy-tales, but created his own interpretations. In 1964 he became the member of the Union of Painters of the USSR. Let us have a look at his composition “Mushrooms” carved from wood. At first sight it causes only a kind smile. But if you study it more attentively, you will see a picture from our current life. Orange-cap boletus looks smart. He is a real show-off. He is a dedicated follower of fashion. But behind this mask you can feel selfishness and narrow-mindedness. Brown-cap boletus is looking at him and is shaking his head. He feels sorry for people who have lost simple politeness and elementary decency. Brown-cap boletus is a symbol of man’s conscience. The most important character is Edible boletus. He is staying apart from the rest of the group. He is round, with a double chin, little swollen eyes and thick lips. He is pompous as he occupies a high social position. A female character is embodied in the image of a toadstool. Though she is snobbish and very proud of herself, in her empty eyes a spectator can easily read unlimited boredom and loneliness. A morel finishes the composition. He is indifferent and the expression of his face asks: “What can I do?” So the author criticizes the situation in society, he demonstrates both great artistic abilities and high moral qualities, and civil courage. During the last years of his life the artist was working at the sculpture called “Forest fairy-tale” (1976). It is displayed in the Museum of the Applied Arts in Yoshkar-Ola”. This little in size composition is full of various characters. You can watch it for a long time, can “read” like a fascinating book. On the high trunk of the tree you can find the figures of birds and animals – an owl, a bear, an elk with large branchy horns. Among the real forest inhabitants you can meet fabulous images of Swamp Hostess, various forest spirits. While looking at these figures it seems to you that they become alive and start moving. The author brilliantly conveyed the birds’ feathers, the fluffy fur of animals, the uneven roughness of the tree bark. The central place in the composition is occupied by an old man – a musician. He is playing the reed-pipe. Thanks to the painter’s will, he’s turned into a forest wonder: his eyebrows are grey and thick, his eyes look wise and kind. Even the long beard doesn’t frighten you. The reed-pipe is playing and the gloomy forest is being transformed: birds, animals, spirits are becoming kinder, more human and beautiful.
1. Shaberdin Philip Pavlovich (1914-1979) was born in the village of Mushka (Sernursky Region). birthplace His ________________ the village of Mushka (Sernursky Region). 2. He participated in the Great patriotic war. to take part He ______________ in the Great patriotic war. 3. He is a dedicated follower of fashion. He ____________ the latest fashion. to follow 4. He is a real show-off. He is fond ___________. to show off 5. Brown-cap boletus is a symbol of man’s conscience. Brown-cap boletus __________ the man’s conscience. to symbolize 6. Among the real forest inhabitants you can meet fabulous images of Swamp Hostess, various forest spirits. Among the real forest inhabitants can________________ fabulous images of Swamp Hostess, various forest spirits. to meet 7. It seems to you that they become alive and start moving. They ____________ to become alive and start moving. to seem 8. The author brilliantly conveyed the birds’ feathers, the fluffy fur of animals, the uneven roughness of the tree bark. The birds’ feathers, the fluffy fur of animals, the uneven roughness of the tree bark ________________ brilliantly by the author. to convey 9. A musician is playing the reed-pipe. The reed-pipe _________ by the musician. to play 10. The gloomy forest is being transformed. The musician’s music helps the forest _______________. to transform
Ex.11. Read the instructions and do the tasks. 1. Be a designer! Create a model. Read the text about the Mari painter and sculptor Ph. Shaberdin. Pay special attention to the description of his composition “Mushrooms”. Try to create your own model “Mushrooms”. |