I really like to go to art galleries and look at the work of artists, imbued with a variety of feelings. I especially like pictures that depict nature with all its charms. You look, and you understand how happy we are, because we live among such beauty. Too bad not everyone sees it. Perhaps that is why the role of artists is invaluable, because it is they who help to consider this beauty. And then one day, visiting the Tretyakov Gallery, my attention was attracted by the wonderful work of Arkady Rylov Green Noise.
In fact, Rylov created many paintings, capturing the beauty of the places where he lived. But the most remarkable and famous two works: In the blue expanse and Green noise. Just talk about the second today and we.
The painting Green Noise, which refers to landscape painting, was painted by Rylov in 1904. It took the author two years to work on this canvas. He rewrote it many times in order to convey not only nature with its riot of colors, but also sounds, noise, movement. To convey the sensations that arise when you look from a hill at the stretching expanses, at a wide river and a green grove. And in the film Green Noise, Rylov succeeded. The canvas brought fame to the author, and the country received a wonderful work in its treasury of painting, which causes a lot of ambiguous emotions.
Description of the picture
The painting Green Noise by Arkady Rylov is very interesting and causes a storm of emotions. You look at her and the first feeling is the most beautiful. I would like to admire the rich colors, the wide water surface, which can be seen in the background, the beauty and harmony of the birches, whose branches flutter in the wind. But it is worth peering into the work of the author more closely, there is a feeling of anxiety. You begin to hear the sound of birch leaves, which are being blown by a strong wind. Old birches do not care about this wind, but young birch trees can be uprooted, destroying this beauty.
Looking at the picture, you understand, most likely a storm is coming. The wind is already starting to pick up its strength. The sky is depicted in light colors, which allowed the author to emphasize the brightness and richness of other colors, highlighting the blue water and green tree crowns. However, clouds begin to gather in the sky. Maybe it will rain soon.
When I look at the picture, it seems to me that I am there, and my face is blown over by the currents of the wind. I stand on a hill and cannot take my eyes off the approaching elements. My ear enjoys the music, which creates an orchestra of green noise and a breath of wind, and beautiful words from Nekrasov's poem of the same name, Green Noise, are spinning in my head.
In the history of Russian art, Arkady Rylov is mentioned primarily as the author of the Green Noise landscape, despite the fact that he left behind a huge number of masterfully painted works. So what is it about this canvas that sent everyone else into the background?
The painting was painted by the author in 1904. At that moment, the Russian Empire was already fighting in the vast Russian-Japanese war, a revolutionary coup was brewing nearby, and the mentality of the Russian people was radically changing. A storm of contradictions was ready to seize and turn the whole country upside down.
And Rylov in these terrible moments begins to write his future masterpiece. It depicts a landscape sketch of Vyatka, the city on the way to which Arkady was born. Rylov dedicated his work to this place, where the future artist grew up and got stronger, dear to the heart of nature, carefree days.
The artist came up with the idea of creating such a canvas in 1902. From that moment on, he began to make sketches during trips to his native city, spent a lot of time in the workshop, recalling the first years of his life, provocative games with friends and walks along the river with his parents. As a result, two years later, a painting came out from under the brush of Rylov, called by the author “Green Noise”.
In the foreground of the work, slender birches and an old oak are depicted. A strong wind is blowing, which bends the trunks of birches, forcing them to bow low to mother earth. Even an oak that has lived for many years cannot cope with gusts of strong wind and directs its crown downwind, slightly lowering the branches.
A dark blue river is visible in the background. Several sailboats rush along its surface. They are probably trying to reach the shore as soon as possible and hide from the approaching hurricane.
Bulky clouds appeared in the sky, which are ready to rain over the endless green fields. Although the distance is still pristine. There is no sign of an approaching storm in it.
Nature in motion, in resistance and at the same moment of humility, is unique and majestic. It seems that everyone looking at the canvas will not only admire the beauty of Russian nature, but also feel the streams of a powerful wind and drops of an incipient downpour, hear the sound of a howling wind and the trembling of tree leaves. It becomes clear why the picture is named that way.
An important role in the emotional perception of the picture was played by a very approximate green foreground, which is opposed to the azure distance. Thanks to the strong active brush strokes of the author, when writing the canvas, a real feeling of wind is created.
Arkady Rylov managed to do the impossible. On his canvas, he was able to convey all the beauty of the vast Russian nature, everything that was combined in it: good and evil, peace and movement, different tones and colors. It can rightfully be called a masterpiece.
"Green Noise". PoemNekrasov and the painting by A.A. Rylov
One of the art critics of the 19th century, A. Shklyarevsky, subtly noted that depicting greenery on canvas, the painter must recreate it not only with plain green paint. When hit by sunlight, chlorophyll reflects the warm tones of yellow and red. On the contrary, that side of the greenery, which is in the shade, radiates cold - blue and blue tones.
In 1904, the painting "Green Noise" appeared. She struck everyone with an abundance of new, fresh forest colors. Its author, Aleksey Alexandrovich Rylov, showed the green dressing of the forest in its quivering and lively beauty with the variety of those colors and color tones that Shklyarevsky spoke about. It seemed that green noise burst into the strict halls of the Russian Museum, then called the Museum of Emperor Alexander III, from this picture, along with a piercing wind.
When N.A. Nekrasov wrote the poem "Green Noise", he made a note to it: "So the people call the awakening of nature in the spring." Let's remember the poem:
Green Noise is coming,
Green Noise, spring noise!
Playfully divergent
Suddenly the wind is riding:
Shakes alder bushes,
Raise flower dust
Like a cloud: everything is green:
Both air and water!
Green Noise is coming,
Green Noise, spring noise!
And now let's look at Rylov's picture. The viewer seems to be standing on a hill, from which a wide view of the floodplain of a dark blue river with sails of boats opens up. Old, young and very young trees rustle next to it. The day seemed to be windy. Cumulus clouds rush across the clear spring, soft turquoise sky. White, purple, pink - they are illuminated by the invisible in the picture, but somewhere close by the sparkling sun. From this, the foliage of trees glows in different ways. It is as if showered with shiny or precious stones - hundreds of fluttering, dancing leaves turned over from the wind.
On the sunny side, the foliage glows with warm - green and yellowish highlights, on the dark side - immersed in a cold range of dark green, almost black tones.
All nature rejoices. She is full of strength and freshness. The Green Noise is buzzing across the Russian land... The trees, just dressed in elegant foliage, and the violent, mischievous wind lead a round dance.
Many rightly found the commonality of this musical picture, this joyful celebration of colors with the melodious and expanse, abundant color of Levitan's landscape "Cloud". At the same time, the "sonority" of Rylov's painting and the simplicity of the motive somehow made it related to Kuindzhi's work.
(From the book: Osokin V.N. Stories about the Russian landscape. - M .: Children's literature, 1963)
In his "Memoirs" A.A. Rylov wrote: "I worked very hard on this motif, recomposing and rewriting everything several times, trying to convey the feeling of the cheerful noise of birches, from the wide expanse of the river. I lived in the summer on the steep, high bank of the Vyatka , under the windows birch trees rustled all day long, dying down only in the evening; a wide river flowed; one could see distances with lakes and forests. and to write and draw these birches with her.When I arrived in St. Petersburg, this "green noise" remained in my ears ...
He continued to work on the painting in St. Petersburg, in a workshop on the seventh floor of a huge house that gloomily towered over the wooden houses of the Harbour. It smelled of the sea, the seagulls were screaming, the sails were far white. From here one could see Kronstadt, Oranienbaum, Peterhof, Strelna. But this is in good weather.
“On a stormy night,” the artist recalled his seventh floor, “it was terrible in the Havana house, especially when I was the only tenant on the entire floor: the rest of the tenants all left when the landlord added rent for apartments.” And again about the picture: "I was surprised that Arkhip Ivanovich<Куинджи>I liked this picture, and was, of course, terribly happy. They called Bogaevsky and the three of them began to smoke and talk peacefully. Bogaevsky, seeing my picture, began to recite Nekrasov's poem "There is a green noise humming..." So the name of the painting "Green noise" was given..." (Rylov A. Memoirs. - L .: Artist of the RSFSR, 1966)
* ShklyarevskyAlexander Andreevich, 1837 - 1883 - novelist.
* Above painting "Green Noise" (1904), the artist worked for two years, wrote it in the studio, using the experience of observing nature and a lot of sketches made in the vicinity of Vyatka and St. Petersburg. The first copy is in the Russian Museum. The second one is in Moscow, at the Tretyakov Gallery, the third one is in Kyiv, at the Museum of Russian Art.
* Rylov Arkady Aleksandrovich (1870–1939), painter, Honored Art Worker of the RSFSR (1935). He studied at the Central School of Drawing Techniques (1888–91) and the Academy of Arts (1894–97) under A. I. Kuindzhi, academician (1915). He taught at the Drawing School of the OPH (1902-18), the Academy of Arts (1918-29). Member of the association "World of Art", Society named after A. I. Kuindzhi (1925-30), AHRR (1925-26). Master of romantic landscape paintings.
Lesson 25
Lesson objectives:
– Producecomparative analysis of two paintings dedicated to different topics, but imbued with similar impressions and experiences of the authors.understanding the content of the title pictorial work.
Lesson aids: Textbooks "Russian language", part 2 (p. 21–23), "Literary reading".
I. Exercise 8. The teacher asks the children to find in the textbook "Literary reading" in
"Museum House" painting by Arkady Rylov "Green Noise". The students look at the reproduction.
II. Together with the teacher, the children discuss questions about reproduction.
Sample answers to questions.
1. The artist sees only what is in front of his eyes, or even what is very far fromhim?Students will discover thatin the distance beyond the river (in the background, background of the picture), river tributaries are visible, islands of land between them and the horizon line is guessed. Thus, it is clear that the artist's gaze extends into the distance.
2. What time of year did the artist depict? What trees did he paint?Judging by the dense foliage of the trees,the artist depicted the height of summer . In the foreground of the painting is depicted, according to one version, a pine tree (we see only its brownish-orange trunk). Girlfriend version, depicted not a pine tree, butbirch: the lower part of its trunk is colored lilac-brown by lighting, and the upper part of the trunk of this tree and its right side branch show that it is after all a birch. Away from this big tree- young thin birches, a little further to the left - a large birch with a spotted black and white trunk,
Note. It is important that children carefully examine the picture, visually travel through its space, peer into the details and try to give as detailed a description of each image as possible. It is necessary to explain to students what to use such concepts asforeground, middle and background of the paintingpreferably only when necessary (so that everyone can imagine the location of one or another object).It is better not to use these terms in an oral or written composition based on a picture.
3. Do you think the day is sunny or cloudy, hot or cool, windy or calm?The students will say thatsunny day, hot but windy . Ask them to justify their answer. It is important that the children once again carefully look at the details of the picture and notice howbright, contrastingly lit grass and clouds .
4. What helps you see the wind?(Pay attention totree branches and leaves , onclouds floating across the sky .)
5. "Travel" through the painting . To do this, imaginea birch leaf will fly, picked up by the wind. Try to have the children notice that in addition to dense clouds driven by the wind and waving tree branches, windy weather is also evidenced by how stretchedsails of boats moving fast on the river . This block of questions allows students to feel the movement that permeates the picture and visually "master" its space.
6 . Do you understand what the title of the picture says? Do you think the title of the painting expresses its theme or the main impression of the artist?Students will guess thatthe title of the painting refers to the rustle of green leaves that flutter in the wind. The name of the painting "Green Noise" expresses one of the artist's impressions, more precisely, his sound impression of a windy summer day.
7. Return to the picture of the French artist Claude Monet "Walk" and compare it with the picture of Arkady Rylov. Where was the French artist when he painted a lady with a child - on a hill or in a lowland? And where was the Russian artist when he painted his landscape? The painting by Claude Monet was painted from the point of view from below, that is, the French artist was in the lowland and looked up from the bottom. From this, the figure of a woman seems to rise above the earth and obscure part of the sky. Have the children look at the way the umbrella is written and imagine from what point of view you can see it that way. You can also explain to children thatthe point of view from below in a painting is sometimes "called" a "frog" perspective. Russianthe artist painted his landscape, standing on a dais (slightly higher than the trees that
are shown in the foreground), which allowed him to show the distance stretching towards the horizon. Can you tell students thatthis top-down view is called the "eagle" perspective .
8. Did the artists depict the same season or different ones? Is the weather similar in their paintings? What is the similarity?
The purpose of these questions is for students to discover thatboth paintings depict a sunny, windy summer day.
9. Consider how the shadow falls from the figure of a lady in a Monet painting. Can you determine withwhich side is the sun?
Now pay attention to how the shadows from the trees fall in Rylov's painting. Determine which side the sun is shining from. The knowledge that the children received in the lessons on the "World Around" will help them determine that in the painting by Claude Monet the sun is located behind the figures, slightly to the right, and in the painting by Rylov the sun is in front of the trees (as if from the side viewer) on the left.
10. Can you see in the painting by Claude Monet,which way is the wind blowing ? And what shows the direction of the wind in the painting by Arkady Rylov? And the direction of the wind in the picture of Arkady Rylov can be seen from how the branches of trees flutter and how the sails of boats floating along the river are filled with wind.The wind in the picture of the Russian artist blows, on the contrary, from left to right. 11. Can you hear the sound of the wind in these pictures - hear the sounds that fill it? And to smell the smells that the wind brought?Looking at the picture "Green Noise", you can hear the rustle of leaves, smell the grass and flowers, feel the humid river air that the wind brings. Hear the wind on
the picture “Walk” can be seen in the rustle of a skirt fluttering in the wind and twisting, as well as in the fluttering of the stretched fabric of an umbrella, which is strained by air currents. When you look at a painting by a French artist, you can imagine that the wind carries the smell of warm grass, wild flowers and, perhaps, a slight smell of ladies' perfume.
12. What similar experiences do artists share with us?Both artists share with us the feeling of spaciousness, large airy spaces, which they manage to convey by depicting the wind. In the first case (for Rylov), the feeling of spaciousness arises due to the fact that the image of the wind in the foreground is combined with a large view, and in the second case (for Monet) - due to the fact that two-thirds of the picture is occupied by the image of the sky. In both paintings, everything around is filled with movement. Both artists share the impression of freshness and freedom, which are caused by a sunny summer day, hot and windy at the same time.
Green noise. 1904
Canvas, oil. 107 x 146 cm
State Russian Museum, St. Petersburg
A friend of the remarkable Russian landscape painter Arkady Aleksandrovich Rylov, artist K. F. Bogaevsky once jokingly remarked:
“The picture was painted by Arkady Alexandrovich Rylov, and Green Noise is my invention.”
Rylov himself in the book of his wonderful memoirs vividly tells about the circumstances under which the poetic name of this widely known painting was born, and at the same time acquaints us with its creative history.
“I painted three large paintings and several smaller ones for the exhibition,” he says. “Before the exhibition, as usual, Arkhip Ivanovich Kuindzhi came to us (Rylov’s favorite teacher and his highest artistic authority). The soul went to the heels when his strong call was heard, a familiar fur coat and a beautiful head with a frosty mustache and beard appeared. Kuindzhi went to Bogaevsky's room... from Bogaevsky he came to me.
Reluctantly, I put a landscape with birches on the easel. I was not entirely satisfied with the picture, but Arkhip Ivanovich praised it, as a rule he rarely praised it. I worked very hard on this motif, recomposing and rewriting everything several times, trying to convey the feeling of the cheerful noise of birches, of the wide expanse of the river. I lived in the summer on the steep, high bank of the Vyatka, under the windows the birch trees rustled all day long, dying down only in the evening; a wide river flowed; one could see distances with lakes and forests. From there I went to the estate to the student. There, the alley of old birches, going from the house to the field, was also always noisy. I loved to walk on it and write and draw these birches. When I arrived in St. Petersburg, I still had this “green noise” in my ears. I was surprised that Arkhip Ivanovich liked this picture, and was, of course, terribly glad. They called Bogaevsky and the three of them began to smoke and talk peacefully. Bogaevsky, seeing my picture, began to recite Nekrasov's poem "Green noise is coming, buzzing ..." This is how the name of the painting "Green Noise" was given.
Green noise!
The high, steep bank of the river, above which the leaves excited by gusts of wind rustle with a sweeping rumble, boats flying far below under white sails, the boundless expanse of the district and the clouds in the high blue of the windy sky - everything in this echoing, saturated with movement picture is imbued with a feeling of love for native nature and delight in front of her restless "restlessness". And is it any wonder that the appearance of this picture in the pre-revolutionary year of 1904, when the approach of thunderous peals of a social storm was already clearly felt in the air, was perceived by contemporaries, those who were waiting for the fresh wind of the revolution, as a significant poetic symbol, as a kind of figurative anticipation of the coming social updates? Full of stormy dynamics, Rylov’s painting evoked a public response unexpected for the artist, and his wonderful landscape, saturated with green noise, attracted the hearts of the audience not only with its high aesthetic merits, but also with the social pathos that advanced pre-revolutionary Russia felt in it.
The picture immediately gained wide popularity, and the name of the author entered the history of Russian painting forever. A modestly conceived landscape with birches, inspired by the noise of leaves fluttering under the gusts of wind, sounded like a bright major chord in the history of Russian landscape art. The artist created a work in which he not only showed his charming talent as a painter, but also outlined many new ways for the development of our post-Levitan landscape.
An excellent description of Rylov was left to us by his senior colleague in art, Mikhail Vasilyevich Nesterov, an outstanding Russian artist. In his book "Old Days" he wrote:
“The years from the beginning of the 900s to the very year of his death were an uninterrupted chain of successes for Arkady Aleksandrovich, his admiration for the most diverse beauties of his native nature. His name became honorary, but in no way flashy, in Russian art. Talent grew stronger, his images became more and more significant, and he, not being tendentious by nature, was informative. The charm of Rylov's paintings lay in their inner and outer beauty, in their "musicality", in quiet, caressing, or spontaneous, stormy experiences of nature. Its mysterious forests with the noises of their forest dwellers breathe, live a special, enchanting life. Its seas, rivers, lakes, clear sky, promising a “bucket” for tomorrow, or a sky with clouds rushing somewhere - promises trouble - everything, everything is in action with Rylov, everything is dynamic - the joy of life replaces its drama. The dark forest is full of anxiety, the stormy banks of the Kama, perhaps, bring death to someone. We experience the autumn flight of birds over distant seas as a personal loss of clear days. Everything with Rylov is full of meaning, and he is nowhere, in any way, indifferent to the meaning, to the ongoing mysteries of nature and its inhabitants. He sings, glorifies and magnifies the Motherland...
Rylov is not just a “landscape painter”, he, like Vasiliev, like Levitan, is a deep soulful poet. He is dear to us, he is dear to us, because nature releases Rylovs very, very sparingly ... "
