Painting Lermontov M. Yu. Graphic heritage of Lermontov

When mentioning the name of Lermontov, few people immediately in his head pop up his paintings. This is due to the fact that Mikhail Yurievich is associated primarily with poetry, since this face is most known.

In addition to the fact that Lermontov was the 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 pictures. His images look alive, convey emotions and emotions. We will get acquainted with Mikhail Yurievich as an artist, and we will map the connection between his two hypostases - the painter and the poet. And also consider how Lermontov himself is depicted in the music and painting of others.

Lermontov as an artist

In many of the memories of the friends of the Lermontov family, little Misha is described constantly with something drawing. Even in the children's portrait of an unknown artist he is depicted with chalk in his hand.

It is not established whether Lermontov was trained as a child in childhood, 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 also came to the opinion, on which his teacher insisted, that everything should be natural and as close as possible to reality. This was later not only the painting and graphics of Lermontov, but also poetry.

After the termination of the boarding house, the future classics do not give up painting classes. In St. Petersburg, he continues to study under the leadership of Peter Zabolotsky.

Not only associates, 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 been completely different.

The volume of artistic heritage

Painting Lermontov came to us in a relatively small number. But this is enough to make a general opinion about this role of the poet. Among the legacy are oil paintings, watercolors, individual drawings, sketches and even caricatures.

One can guess that this is far from all the works that Lermontov had. If only because it is not enough, in order to achieve such skill, which was in Mikhail Yurievich. Many of his works were distributed or lost.

The literature about Lermontov-artist is limited to a few surface notes-notes. B. Mosolov and N. Wrangel give a general idea of his person in painting. But these essays have nothing to do with scientific, professional analysis, which would draw a parallel with poetic works.

It is worth noting the albums with sketches and manuscripts of works, where we find the graphics of Lermontov. The picture is either a commentary to the record, or the record itself serves to explain the image, thus creating an inseparable 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 intentionally. Mikhail Yurievich never had a special love for the tyrants, and if in poetry it could be veiled, then sharp caricatures and cartoons cast a shadow on the authority of the then nobility and nobility.

Lermontov's paintings

Painting Lermontov has an extraordinary naturalism. There are several reasons for this. First, Lermontov belonged to an era in which there was already a departure from the monumentality of the image, but modernism, which calls for transformation, has not yet gained momentum.

Secondly, the first teacher A. Solonitsky accustomed to the reality in the image of Lermontov, since he only found the accuracy in the exact mapping. That is, you can not depict the landscape as the author sees it in comparison. It is necessary to submit it as it is, and everyone for himself will already pick up feelings and associations.

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

But with all the desire for accurate mapping, this did not stop Lermontov from developing his style in painting.

Watercolors Lermontov

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

His watercolor drawings, like those made with oil, are a graphic representation of what is happening in his works. So, staying in the North Caucasus, he wrote not 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 that was written first, a poem or a picture. It is also difficult to say unambiguously which of these works of art more successfully turned out.

Painting Lermontov differs cleanliness of drawing paints, without impurities. Extremely accurate lines and skillful form-making make the image realistic and accurate. Although experts notice a lot of mistakes, they are leveled due to 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 creative work acquired a new, inspired direction.

In the works there was a new motive - the North Caucasus and its tunes. Under the tunes it is necessary to mean the themes and customs of the natives.

In addition to poems, the period of the poet's stay there tells the painting of Lermontov. The Caucasus first appears as a romantic land. The rocks no longer inspire fear - they amaze with greatness, nature generously shares its beauties. Lermontov was the first who discovered his romanticism in the Caucasus.

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

Oil Paintings

Painting M. Yu. Lermontov with images of the Caucasus is not limited to watercolor paints. One of the most famous paintings is the "Cross Pass", written in 1837-1838.

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

"Cross Pass" is the fruit of the more mature creativity of Lermontov. This is evidenced by a competent construction, observance of the perspective both in the dimensional sphere and in the transfer of paints.

Drawings on autographs

Interesting are also the poet's drawings on manuscripts, near donative inscriptions, in albums of different families. This does not represent Lermontov's painting in such a light, in which it is represented in large canvases. It is not only whipped up, but also executed in one color. Such a drawing conveys Lermontov's attitude to what he or she painted. That is, he passed exactly those features that were most memorable, striking.

There are many such drawings, because they were created during the work on another poetic work.

The earliest graphic sketches that we know today are sketches on the Psalter. In fact, it is rather a funny fact, not a work of art. On them there is neither the perfection of the pen, nor the special theme.

Lost drawings

The children's drawings of Lermontov were forever lost. About their existence, we learn only from biographical records and letters of contemporaries.

There is also information about the drawings and wax crayons. He did not just draw, but did volumetric pictures of melted wax. Mention of them is found in several letters, but the search for paintings did not succeed.

Also lost are the drawings from Vereshchagin's album, from which Lermontov closely corresponded.

Imaginary drawings of Lermontov

One of the drawings attributed to Lermontov's brush, but in fact it does not belong to him is "The head of a warrior in a helmet." The main argument in favor of the false author is handwriting, not the one that Lermontov's other painting has.

The second such picture is "The Storm on the Sea". If the previous work was performed with greater skill than the poet had at that time, the Storm, on the contrary, is drawn by an uncertain, languid hand. While Lermontov during this period has already found his handwriting and drew much better.

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

In addition to these paintings, the stylistic features that were not painted in Lermontov's works are inherent in: "Gravestone with the Urn", "Shooting Cossack on a Horse", "The Head of a Peasant", "The Caucasian View" and some others.

Poems in Lermontov's painting or painting in poems?

To give an unambiguous answer, as shown by Lermontov's works in painting, is difficult. One can say for sure that these two kinds of art successfully complement each other. Depending on the picture and the poem, they served as illustrations to each other - looking what had seen the light before. Thus, the poem "The 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 lyric hero that at the dawn of a conscious life he is forced to serve in the Caucasus, far from the Motherland. But he loves this land, which gives him so much pleasure from contemplating his beauties. It's hard to picture such experiences on canvas, you see. But the complement function works here.

Lermontov's works in painting are illustrative and explanatory. Most of all it concerns portraits and landscapes. Wanting to convey the character, mood and features of the lyric hero, the author seems to insist on his version of the perception of the character.