« Green noise»

Work based on a painting by Arkady Rylov

...There is no nature separate from us,
every slight movement of air
is the movement of our own life.

I.A. Bunin

A.A.Rylov. In the blue expanse. 1918. State Tretyakov Gallery, Moscow

In 1862 N.A. Nekrasov created his poetic masterpiece “Green Noise”. What does this mean - “green noise”? As if anticipating this question, the poet made a note: “this is what people call the awakening of nature in spring.” And today, almost a century and a half later, “green noise” sounds like a song about the awakening of nature and all the best that for the time being sleeps or lurks in the human soul.

The Green Noise goes on and on,
Green Noise, spring noise!

Playfully, disperses
Suddenly a riding wind:
The alder bushes will shake,
Will raise flower dust,
Like a cloud: everything is green,
Both air and water!

The Green Noise goes on and on,
Green Noise, spring noise!

Like drenched in milk,
There are cherry orchards,
They make a quiet noise;
Warmed by the warm sun,
Happy people making noise
Pine forests;
And next to it there is new greenery
They babble a new song
And the pale-leaved linden,
And a white birch tree
With a green braid!
A small reed makes noise,
The tall maple tree is noisy...
They make a new noise
In a new, spring way.

The Green Noise goes on and on,
Green Noise, spring noise!

In Russia, these Nekrasov poems were not only loved, many knew them by heart. Years passed, and in 1904 the artist Arkady Rylov completed the painting, which placed him among the best landscape painters in the country. In his “Memoirs” he wrote: “... I lived in the summer on the steep, high bank of the Vyatka, birch trees rustled under the windows all day long, calming down only in the evening; was leaking wide river; I could see the distance with lakes and forests... When I arrived in St. Petersburg, this “Green Noise” remained in my ears... I worked a lot on this motif... trying to convey my feeling from the spring noise of birches... »

How Russian, what dear to the heart tree - birch! No other tree can hold so much national concepts, does not give rise to so many images and comparisons. Birch is truly a peasant tree. It has everything: a whitewashed hut, a Russian stove, a colorful homespun rug, a woman’s cotton scarf, a canvas shirt, a pockmarked chicken, and even milk. The gnarled trunks of birch trees look like calloused peasant hands that can do any job. And the thin and slender green-spiked birches, as if rising on tiptoe to the blue spring sky, resemble a girl’s round dance.

Rylov showed his painting to his friends. And there: the green crowns of birches lightly soared over the river, which flows through the emerald kingdom slowly and, it seems, completely silently. The playful waves became silent. Fluffy spruce paws, casting shaggy shadows, look into the mirror of the waters. A free breeze flies over a wide distance. So he picked up the thin flexible branches - and the leaves fluttered, began to speak, rustled, and darted about in a bizarre scattering in the azure sky. The white lace of a gentle cloud melts in the heights, lamb-like clouds float by... Everything moves, lives, rejoices in freedom and light, enjoys the boundless space. The bright spring greenery of the high bank, the river in the glare of the sun - how nice and free it is here in the spring!

Nekrasov’s lines, which sound like a declaration of love, fit perfectly here:

...But I love, golden spring,
Your continuous, miraculously mixed noise;
You rejoice, without stopping for a moment,
Like a child, without care or thought,
In the charm of happiness and glory,
You are completely devoted to the feeling of life, -
The green grasses are whispering something,
The wave flows talkatively...

Over the hills, through the forests, over the valley
The birds of the north fly and scream,
The nightingale's song is heard at once
And discordant squeaks gabble...
The cry of frogs, the buzzing of wasps...
Everything merged into the harmony of life...

N. Nekrasov . My heart breaks with agony...

Having seen the picture, Rylov’s friend, the artist Bogaevsky, recited Nekrasov’s poem “Green Noise.” Better name it was impossible to imagine for the picture. So Nekrasov’s poems became forever related to one of best paintings Rylov, marking the flowering of his talent. Nowadays, one of the versions of Arkady Rylov’s painting “Green Noise” adorns the State Tretyakov Gallery in Moscow, and another - the State Russian Museum in St. Petersburg. I like the one in Tretyakov Gallery.

Let's turn over a few pages of the artist's book of life. Arkady Aleksandrovich Rylov was born on January 29, 1870. His childhood and youth were spent in the north. The family lived in Vyatka, located on the banks of a wide, high-water river with the same name. The land of forests, lakes and rivers captivated the artist with its beauty and majesty. Rylov fell in love with nature passionately and for the rest of his life. He could wander through forests and meadows all day long, sit for hours by the water, watching some water hen splash its paws on the coastal mud, watch for a long time a fluffy fussing squirrel...

A lot can be said about Rylov’s love for nature. But I will just remind you of just one fact that will allow everyone to draw their own conclusions. The artist had a tabletop zoo at home, where its inhabitants - monkeys, squirrels, birds - walked. The animals were not afraid of Arkady Alexandrovich. The artist captured this touching trust of “our little brothers” in “Self-Portrait with a Squirrel.” The fluffy guest settled calmly and comfortably on a kind, gentle hand!

Rylov was educated at the St. Petersburg Academy of Arts. He was lucky enough to work in the workshop famous landscape painter Arkhip Ivanovich Kuindzhi. He experienced the strong influence not only of creativity, but also of the personality of his mentor. Kuindzhi was a born enthusiastic teacher who selflessly loved young people and his work. He constantly looked after his pets, helped financially poor students, and used his own funds to take them to Crimea for summer internship and even abroad.

Kuindzhi paid a lot of attention to working in nature, which he considered the painter’s very first and serious teacher. He taught the art of seeing, feeling, understanding nature.

Artistic life in late XIX- early 20th century was difficult. Various associations of artists organized their exhibitions. Their participants often differed in their views on the tasks and role of art, on the goals of creativity. But Rylov’s sincere, poetic art, inspired by a tender love for nature, was accepted everywhere: his paintings could be seen in the “Union of Russian Artists”, and at exhibitions of the “World of Art” association, and at “Spring” exhibitions organized by his teacher A. AND. Kuindzhi.

In the paintings painted after graduating from the academy, Rylov sought to convey the charm of the thoughtful, deep silence of the northern forest nature. These were a kind of “mood landscapes” characteristic of the work of many artists of those years.

A.A.Rylov. Green noise. 1904. State Tretyakov Gallery. Moscow

Having chosen the path of a landscape artist, Arkady Rylov retained in his memory for the rest of his life light image his teacher and used his techniques in his own pedagogical work. As a professor at the Academy of Arts, and teaching at the drawing school of the Society for the Encouragement of Artists for almost his entire life, he lovingly nurtured young talents. The students remembered him kind words. They forever remembered his behest: truth and beauty are sisters. The artist just needs to learn to see eternal harmony nature and labor, great labor, to achieve the expression of this beauty. The talented Russian landscape painter was also recognized by noisy Paris, which was considered a trendsetter in art. Rylov was elected a member of the honorary jury of the Paris Salon (exhibition). And not just, but with the right to exhibit your paintings there without prior discussion by the jury. On international exhibitions his works have been awarded gold medals more than once.

“Our Russian Grieg” is what his artist friend Mikhail Nesterov called Arkady Rylov. And rightly so. For just as in the music of the Norwegian composer, who embodied the images of northern nature, a sensitive ear will catch the noise of mountain streams, the crystal ringing of ice floes, the roar of the wind in the gorges, so in Rylov’s paintings the deep, sonorous, saturated color gives birth to images of Russian nature.

Rylov knew how to look especially poetically at the most ordinary pictures of nature, past which hundreds of people passed without noticing them: white parachutes of dandelions in a green meadow; blue rivers where reflections of clouds floating across the sky bathe; a nimble red squirrel jumping around the fluffy spruce branches; spring migration of birds; birch trees trembling in the wind with their branches; a sunbeam deftly jumping in the corolla of the bath... The impressions of what he saw overwhelmed the artist. Hands reached for the brush, the brush for the canvas, and pictures were born about the native nature, and therefore about the native land.

Probably, the artist Rylov with his paintings wanted not only to “witness” and glorify the beauty and originality native nature, native land, but also to remind that man is responsible for its safety and prosperity. I will name just a few paintings by Arkady Rylov: “Sunset” (1917), “Thundering River” (1917), “Swans” (1920), “Green Lace”, “Seagulls. Quiet Evening" (1918), "Hot Day" (1922), "Forest River", "Self-Portrait with a Squirrel" (1934), "Green Noise" (1904), "In the Blue Expanse" (1918)...

One day, for the first time in his life, the artist saw white swans in freedom - beautiful, proud birds were making their spring migration. Nature endowed swans with an indomitable desire for light and warmth, gave these graceful creatures great power. The free flight of mighty white birds over the boundless northern sea captured the artist’s imagination for a long time. There was something epic about this spectacle. And in 1918, in one breath, he painted the painting “In the Blue Expanse.” It was a repetition of the painting “Flight of Swans over the Kama”, written by him in 1914, but this time in a major key. IN new picture the master achieved not only expressive laconicism artistic language, but also the symbolic sound of the image. Nowadays the painting “In the Blue Expanse” is in the State Tretyakov Gallery.

Blue-green waves crash onto the reddish rocks of a distant island. Sparkling snow glistens on the tops of the rocks. A light sailboat sways on the waves. And light clouds slowly float above the horizon in the delicate azure. The majestic and harsh northern nature greets the morning of a new day. White swans, as if bathing in crystal air, hover over the water, now descending, now rising towards the lilac curly clouds. With each flap of the mighty wings, gentle colored shadows fall on the snow-white plumage - and more and more new shades appear in the overall joyful range of golden-lilac and bluish-green tones. There is so much air in the picture that the viewer himself seems to feel the fresh breath of the wind. Smooth rhythm of movement and major coloring, which he managed to convey talented artist, composed a poetic song. White swans over the northern sea still evoke a feeling of joy, a feeling of vast space and light.

There are artists whose paintings are immediately recognized at exhibitions and are not forgotten for a long time. One of these artists is Arkady Aleksandrovich Rylov.

Homework(one of the options of students' choice).

I. Make a plan for a story on the topic “A Tale about the Artist Arkady Rylov” (written).
II. Give reasoned answers to the questions:

1. What, in your opinion, is evidenced by the desire of a landscape artist to glorify the beauty of his native nature?

(About love for your homeland, for nature is one of its components.)

2. It’s easy to love the starry sky, the mirror surface of a forest lake, and sunlit trees, because they are beautiful in themselves. Is it possible to admire and love a small river or a tree with gnarled branches?..

(Nekrasov in the poem “ Railway" wrote:
There is no ugliness in nature! And kochi,
And moss swamps and stumps -
Everything is fine under the moonlight,
Everywhere I recognize my native Rus'...

To love, for example, roads washed out by the thaw, as Fyodor Vasiliev loved them, can only be loved by a person who loves every inch of his native land. It’s no coincidence that people say: “It’s not good that’s good, but good that’s good.”.)

3. What means does the artist have in his arsenal to convey the meaning of the picture and mood?

(Plan - foreground or background, size, contrast, color, art of bringing tones together, rhythm, backstage technique...)

4. Is it possible, from your point of view, to judge a person’s relationship with nature - plants and animals? spiritual qualities and attitude towards people?

(It has long been noted that those who love and protect nature, plant flowers, shrubs and trees, take care of animals, as a rule, have a sympathetic attitude towards people. There is a moral and aesthetic pattern: a lover of nature is at the same time a lover of humanity. On the contrary, the one who senselessly destroys trees, birds, animals is also cruel towards people.)

5. How would you comment on Bernard Shaw’s statement: “We have learned to swim in water like fish. Fly in the sky like birds. All that remains is to learn to live on earth like people”?

6. Why do you think nature can be eternal source inspiration for landscape painters?

(Nature is “forever young”, cosmically boundless, changeable and diverse, it has many unsolved mysteries, touching which helps a person to know himself.)

Literature

Master romantic landscape A.A. Rylov (1870–1939) / In the book: IN AND. Gapeeva, E.V. Kuznetsova. Conversations about Soviet artists. - M.–L.: Education, 1964. P. 46–51.

Masters Soviet art about the landscape / Comp. Bodanova E.I. M., 1963. pp. 62–68.

Mochalov L. A.A. Rylov. - L.: Artist of the RSFSR, 1966.

Rylov A. Memories. - L.: Artist of the RSFSR, 1966.

Fedorov-Davydov A.A. Arkady Alexandrovich Rylov. - M., 1959.

Description of Rylov’s painting “Green Noise”

Arkady Aleksandrovich Rylov is one of the outstanding and famous Russian landscape painters.
His mood landscapes have repeatedly surprised not only art lovers, but also the creators themselves.
Having lived in the North for many years, he put his love for these places into his paintings.
His painting “Green Noise” brought great delight and fame to the author.

Work on this painting lasted two years.
The author created three copies of such raging beauty.
They all take places of honor in the Russian Museum, the Tretyakov Gallery and the Kiev Museum of Russian Art.

The first impression that is created when looking at the picture is that it is bright.
Rich green and blue colors amaze their people with violence.
Even a blue sky with white clouds glows with brightness and contrast.
The author showed us a hill near the river.
A small green clearing among mighty trees opens beautiful view onto a winding river with white sails.
But the trees attract the most attention.
They move just like that in the picture from the strong wind.
Their branches are tilted in one direction or the other, creating the impression of sounding noise.
The author observed all these beauties in his native land.
He wanted to convey not only the beauty of nature, but also its character and sound.

When you look at this work, you get the impression that you are looking out the window, inhaling Fresh air, feel the aroma of nature and hear its song.
This is amazing.

In the history of Russian art, Arkady Rylov is mentioned primarily as the author of the landscape “Green Noise”, despite the fact that he left behind a huge number of masterfully painted works. So what is it about this painting that sends all others into the background?

The painting was painted by the author in 1904. In this moment Russian empire was already fighting in the vastness of the 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 overturn the entire country.

And Rylov, in these terrible moments, begins to write his future masterpiece. He portrays landscape sketch 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 became stronger, to nature dear to his heart, and to carefree days.

The artist came up with the idea of ​​creating such a painting in 1902. From that moment on, he began to make sketches during trips to hometown, spent a lot of time in the workshop, remembering the first years of his life, playful games with friends and walks along the river with his parents. As a result, two years later, Rylov’s brush produced a painting called “Green Noise” by the author.

In the foreground of the work there are slender birch trees and an old oak. Blowing strong wind, which bends the trunks of birch trees, forcing them to bow low to Mother Earth. Even an oak tree that has lived for many years cannot cope with gusts of strong wind and directs its crown into the wind, slightly lowering its branches.

A dark blue river is visible in the background. Several sailboats are hurrying along its surface. They are probably trying to reach the shore as quickly as possible and hide from the approaching hurricane.

Huge clouds have appeared in the sky, ready to rain over the green endless fields. Although the distance is still pristine. There is no sign of an approaching storm.

Nature in motion, in resistance and at the same moment of submission, is unique and majestic. It seems that everyone looking at the canvas will not only admire the beauty of Russian nature, but will also feel the flow of a powerful wind and drops of the beginning of a downpour, hear the sound of the howling wind and the trembling of tree leaves. It becomes clear why the picture is named this way.

An important role in the emotional perception of the picture was played by a very close green foreground, which is contrasted with the azure distance. Thanks to the strong active brush strokes of the author, a real feeling of wind is created when painting the canvas.

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

Arkady Rylov is an outstanding Russian landscape artist born in 1870. His canvases surprise with their mood and beauty, thereby delighting not only the audience but also the performer himself. Rylov was born on the way (his parents were heading to Vyatka) and most lived in the North throughout his life and lovingly put all the beauty of those places into his paintings, and the canvas “green noise”, on which he worked for two whole years, glorified the artist. He conveyed not only the incredible beauty of his native places, but also sound, character, harmony and thoughts. In 1904, three copies were already created, and all of them are in Russian museums.

The first thing that catches your eye when looking at this masterpiece is its brightness, colorfulness, and saturation. The clear blue sky, decorated with snow-white clouds, gives contrast to the dark green trees and blue water. The picture conveys life and youth with its entire appearance, despite the depicted trees that are not even a dozen years old.

The author painted a wonderful landscape sunny day. The view opens from above, from a mountain on which large mighty trees grow, and below a wide winding river flows, and white sailboats float along it. Due to the unclear images of grass and tree crowns, it is clear that a strong wind is blowing with all its might, bending the branches, creating noise.

Looking at the picture, I get the impression that I am in that clearing and looking at the real, and not at the painted, beauty of nature. I breathe in the fresh air, smell fresh grass, the aromas of small but fragrant flowers and hear the song of rustling leaves.
The name of this painting was given by Bogaevsky, who was one of the first invited, together with Kuindzhi, to evaluate the painting. Looking at it for the first time, he began to quote Nekrasov’s poem “Green Noise,” words that fit perfectly with the landscape, and the assigned name remained.

• Essay based on the painting by Romadina Village Khmelevka 9th grade (description)

  The painting was painted by Romadin in 1944 in the Volga region. Before us appears a village with the telling name Khmelevka, as if hidden by the Lord of the Gods in this secluded and invisible place

• Essay based on the painting Portrait of A.P. Struyskoy Rokotova

  In Rokotov’s paintings there was always a certain charisma and charm on the part of the model for the painting. It is clear from the paintings that when painting them, the author tried to pay more attention to the face and look and less to everything else.

• Essay based on the painting by Romadin The first flowering (description)

  At first glance, the picture seems gray and dull. But you just have to look at it more closely and you can see what the artist was trying to convey.

• Essay on Grabar's painting Winter Landscape, grade 6 (description)

  What a wonderful view I saw famous artist with his extremely unusual eyes and managed to display this using a unique combination of tones!

• Essay on the painting Girl at the Window. Winter of Deineka

  One of my favorite paintings by A.A. Deineka’s painting “Winter. The girl at the window." This picture was written in 1931 for N. Aseev’s poem “Kuterma” as part of the work of the civil-lyrical line.

A friend of the remarkable Russian landscape painter Arkady Aleksandrovich Rylov, artist K. F. Bogaevsky, once jokingly remarked:
“The picture was painted by Arkady Aleksandrovich 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 famous painting, and at the same time introduces us to her creative history.

“I wrote three for the exhibition large paintings and several smaller ones,” he says. “Before the exhibition, Arkhip Ivanovich Kuindzhi (Rylov’s favorite teacher and his highest artistic authority) came to us as usual.” The soul sank to the ground 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 placed a landscape with birches on the easel. I was not entirely pleased with the picture, but Arkhip Ivanovich praised it; usually he rarely praised. I worked a lot on this motif, rearranging and rewriting everything several times, trying to convey the feeling of the cheerful noise of the 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 birches rustled all day long, calming down only in the evening; a wide river flowed; Distances with lakes and forests could be seen. From there I went to the estate to visit my student. There, the alley of old birch trees, going from the house to the field, was also always noisy. I loved walking along it and writing and drawing these birches. When I arrived in St. Petersburg, this “green noise” remained in my ears. I was surprised that Arkhip Ivanovich liked this picture, and, of course, I was terribly happy. They called Bogaevsky and the three of them began to smoke and talk peacefully. Bogaevsky, seeing my painting, began to recite Nekrasov’s poem “There is a green noise humming...” This is how the name of the painting “Green Noise” was given.

Green noise!
The high steep bank of the river, above which the foliage agitated by gusts of wind rustles with a sweeping roar, boats flying along the river far below under white sails, the boundless expanse of the district and clouds in the high blue of the windy sky - everything in this echoing picture, full of movement, is imbued with a feeling of love for native nature and delight in its restless “restlessness”. And is it any wonder that the appearance of this picture in the pre-revolutionary year of 1904, when the approaching thunderous rumbles of a social storm was already clearly felt in the air, was perceived by contemporaries, those who were waiting for the fresh wind of revolution, as significant poetic symbol, as some kind of figurative anticipation of the coming social renewal? Full of stormy dynamics, Rylov’s painting evoked a public response that was unexpected for the artist, and his wonderful landscape, saturated with green noise, attracted the hearts of viewers not only with its high aesthetic merits, but also with the social pathos that advanced pre-revolutionary Russia felt in it.
The painting immediately became widely known, and the name of the author forever entered the history of Russian painting. A modestly conceived landscape with birch trees, inspired by the noise of leaves fluttering under gusts of wind, sounded a bright major chord in the history of Russian landscape art. The artist created a work in which he not only showed his enchanting 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 fellow artist 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 a continuous chain of successes for Arkady Alexandrovich, his admiration for the diverse beauties of his native nature. His name became honorable, but in no way flashy, in Russian art. His talent grew stronger, his images became more and more significant, and without being tendentious by nature, he was meaningful. The beauty of Rylov’s paintings lay in their internal and external beauty, in their “musicality,” in quiet, caressing, or spontaneous, stormy experiences of nature. His mysterious forests They breathe with the noises of the forest inhabitants and live a special, enchanting life. Its seas, rivers, lakes, a clear sky promising a “bucket” for tomorrow, or a sky with clouds rushing somewhere - promises trouble - everything, everything in Rylov is in action, 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 migration of birds across distant seas as a personal loss of clear days. Everything in Rylov is full of meaning, and nowhere, in any way, is he indifferent to meaning, to the ongoing mysteries of nature and its inhabitants. He sings, praises 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 the Rylovs very, very sparingly...”