Biography Konstantin Vasilyev

Konstantin Alekseevich Vasilyev (1942-1976) - Russian artist, whose creative legacy has more than 400 pieces of painting and graphics: portraits, landscapes, surrealistic compositions, paintings of the epic, mythological and battle genres.

Among the well-known works are the cycles "Rus epic" and "Ring of Nibelung", a series of paintings about the Great Patriotic War, graphic portraits, as well as the last work of the artist - "Man with Filin".

From 1949 to 1976 He lived in a house where the museum is open.

In 1976, he was tragically, buried in the village. Vasilyevo.

In 1984, Vasilyev's family moved to Kolomna near Moscow, where the artist belonged to her was transported.
The museum is part of a residential building, which includes a 53.3 m2 memorial apartment.

The exposition is based on a memorial collection, transferred by the sister of the artist V.A. Vasilyeva and his friends.

Call artist

From the book Anatoly Doronina "Rus Magic Palette"

To understand the inner world of a person, one must certainly touch his roots. The father of the bone was born in 1897 in the family of St. Petersburg Workers. The will of the junction became a member of three wars and worked all his life on leadership in industry. Mother of the bone was almost twenty years younger than her father and belonged to the family of the great Russian painter I.I. Chishkin.

Before the war, young couple lived in Maykop. The firstborn was waiting with impatience. But a month before his birth, Alexey Alekseevich went to the partisan detachment: Germans were approaching Maikop. Claudia Parmenovna could not be evacuated. In the eighth of August 1942, the city was occupied, and Konstantin Vasilyev entered the world. It is necessary to talk about what a young mother and baby fell into a fraction of the young mother and kid. Claudia Parmenovna with her son was taken to the Gestapo, then let go, trying to reveal possible relations with the partisans. The life of Vasilyevov hung literally in the hairs, and only the rapid offensive of the Soviet troops saved them. Maykop was released on February 3, 1943.

After the war, the family moves to Kazan, and in 1949 - for permanent residence in Vasilyevo village. And it was not an accident. Passionate hunter and fisherman, Alexey Alekseevich, often leaving the city, somehow got into this village, fell in love with him and decided to move here forever. Later Kostya will reflect the unearthly beauty of these places in their numerous landscapes.

If you take the map of the Tataria, it is easy to find the village of Vasilyevo on the left bank of the Volga, about thirty kilometers from Kazan, opposite the mouth of Sviyagi. Now there is a Kuibyshev reservoir, and when the family moved to Vasilyevo, there was a untouched Volga, or the ITIL river, as it is called in the eastern chronicles, and even earlier, in ancient geographers, called the name of the Republic of Armenia.

The young costume struck the beauty of these places. She was here a special, created by the Great River. In the blue haze, the right bank is rocked, almost blurred, overgrown with forest; A distant white monastery is seen on the slope, the right is a fabulous Sviyazh, all the most appropriate on the dining area with his temples and churches, shops and houses, rising above the broad meadows in the floodplain of the Sviyagi and Volga. And completely far, already for the sinky, the bell tower and the church of the village of Quiet Ples are almost visible on her high shore. Closer to the village - the river, the flow is water, wide. And the water is deep, slow and cool, and the pools of the bottomless, the shadows and cold.

In the spring, in April-May, the flood was filled with all this space from the ridge and up to the ridge, and then the water with bushy islands was visible to the south of the village, and the distant Sviyazh himself turned into an island. By June, the water went out, exposing all the expanses of the filler meadows, generously venated and fertilized by Il, leaving behind the funny streams and blue overgrown with lakes, densely populated by namilimi, lines, binds, pickens and frogs. The coming summer heat with an irrepressive force traveled out of the ground thick, juicy, sweet herbs, and on the shores of the databases, streams and lakes drove up and styling the bushes of the talnik, currant, rosehip.

The meadow on the left bank of the ridge was replaced by blonde lime and oak forests, which was still sitting on the fields, stretch to the north of many kilometers and move gradually in coniferous forest.

From his peers, Kostya was distinguished by the fact that he was not interested in toys, fed a little with other children, but always fled with paints, pencil and paper. Father often took him on fishing, hunting, and Kostya drew the river, boats, father, forest apartments, game, the dog of the Eagle, and in general, all that glad the eye and struck his imagination. Some of these drawings are preserved.

Parents, as they could have helped the development of abilities: tactfully and unobtrusively, protecting the taste, picked up books and reproductions, acquainted costa music, carried him into the museums of Kazan, Moscow, Leningrad, when the case and the opportunity was presented.

First Favorite Kostina Book - "Take about three heroes." At the same time, the boy met the picture of V.M.vasnetsov "Bogatyry", and a year later copied with her colored pencils. On the birthday of the Father presented to him as a gift picture. The similarity of the warriors was amazing. Inspired by the praise parents, the boy copied "Vityaz on the crossroads", also with colored pencils. Then he made a pencil drawing from the sculpture of the anticolish "Ivan Grozny". Its first landscape sketches are preserved: a stump, covered with yellow autumn leaves, a hut in the forest.

Parents saw that the boy is gifted, it cannot live without drawing, and therefore did not once thought about the advice of teachers - send the Son to Art School. Why, where, in what, after what class? Neither in the village nor in Kazan such a school was not. Helped the case.

In 1954, the Komsomolskaya Pravda newspaper placed an announcement that the Moscow Secondary School at the Institute named V. I. Surikov takes gifted in the field of drawing children. Parents immediately decided that this school was needed by the costa - he had a very early ability to draw pains. Inogeneous children school accepted five to six people per year. Kostya fell into their number by passing all the exams on "excellent."

The Moscow Secondary Art School was located in the quiet lavrushinsky lane of the old Zamoskvorechi, opposite the Tretyakov Gallery. There were only three such schools in the country: except Moscow, still in Leningrad and Kiev. But MSHS was revered out of competition if only because it existed at the Surikov Institute, and as a training base had the Tretyakov.

Of course, Kostya did not wait for the day when the whole class headed by the teacher went to the Tretyakov. He went to the gallery alone as soon as he was enrolled in school. Life-laid personal interest, on the one hand, and the lively active power of paintings, on the other, faced in his excited consciousness. What picture to go? No, not to this, where the night sky and the dark shadow of the house, and not to the one where the sandy coast and a bowl in the bay, and not there, where women's figures are depicted ...

Kostya went further and heard the call when he saw three bright familiar figures on a large, the canvas Vasnetsov "Bogati". The boy was delighted with a source of his recent inspiration: after all, he studied the reproduction of this painting on centimeters, looked an endless number of times, and then diligently redrawing. So here he is what is the original!

The boy dug into the decisive faces of the Bogatyurians, brilliant reliable weapons, molding with the metal of the chain, cosmatic horse mane. Where did you get the great Vasnets all this? From books, of course! And all this steppe far, this air before the fight is also from books? And the wind? After all, the painting is felt by the wind! Kostya was worried, opening the feeling of wind in front of the original. Indeed, horse mane, and Trestovika moves the wind.

Having recovered from the first advocating impressions of the city giant, the boy was not lost in unusual space for him. Tretyakovka and Pushkin Museum, Bolshoi Theater and Conservatory - who became the main gate for him into the world of classical art. He reads with a non-allen's seriousness and "Treatise on painting" Leonardo da Vinci, and then exploring the paintings of this great master and "Napoleon" of the Soviet historian Evgeny Tarl, with all the height of the young soul, it is immersed in the music of Beethoven, Tchaikovsky, Mozart and Bach. And the mighty, almost extractable spirituality of these giants is fixed in his consciousness with precious crystals.

Quiet, calm Kostya Vasilyev has always held independently. The level of his work, declared from the first days of study, gave it to this right. Not only boys, but even teachers hit the watercolor Kostins. As a rule, these were landscapes, with their obviously distinctive topics. The young artist did not take something big, catchy, bright, and always found some barcode in nature, which can be passed and not to notice: a twig, flower, field blade. Moreover, he performed the bone of these etudes with minimal picturesque means, scarcely selecting paints and playing thin color ratios. This manifests the character of a boy, his approach to life.

One of his amazing production was a miracle - still life with a gypsum head. Almost after completing the work, Kostya was inappropriately shed with glue on it; He immediately removed the cardboard from Easel and threw in a trash can. It would have disappeared forever this watercolor, as well as many others if it were not for Kolya Charugin - also the boarding school, who studied the class later and always with the delight of Vasilyeva. He saved and for thirty years old kept this still life among his most valuable works.

All components of this still life were chosen by someone with taste in the school subject Fund: as a background - a medieval teddy caftan, on the table - a boy's gypsum head, an old book in a leaving binding and with some kind of rag, and nearby - not yet Rosa faded flower.

Learn the boost was not long - only two years. Father died and he had to go home. He continued his studies in the Kazan Art School, entered immediately to the second course. Kostins drawings did not resemble the student's work. Any sketch he made smooth and almost obsolent movement of his hand. Vasilyev did a lot of living and expressive drawings. It is a pity that for the most part they are lost. From the preserved most interesting, its self-portrait written in a fifteenth age. A smooth thin line is built the head contour. One pencil movement is the shape of the nose, the bending of the eyebrows, slightly designated the mouth, the exact bend of the auricle, curls at the forehead. At the same time, there was a face, eye cut and something else idle remind "Madonna with a grenade" Sandro Botticelli.

The preserved small still life of that period is "kulik" written by oil. In it, the explicit imitation of the Dutch masters is the same strict gloomy tonality, the filigree written texture of objects. On the edge of the table, on a coarse canvas tablecloth lies hunter mining, and a glass of water with water, an apricot bone. And transparent well water, and the unstacked bone, and left for the bird left - everything is so natural that the viewer can easily mentally push the frames of the picture and draw in its imagination any concomitant formulation of the artist's everyday situation.

By this period of life, Vasilyev could write in any manner under anyone. Craft owned masterfully. But he had to find his way and, like every artist, I wanted to say my own word. He grew up and looking for himself.

In the spring of 1961, Konstantin graduated from Kazan Art School. The graduation work was sketches of scenery to opera Roman-Korsakov "Snow Maiden". Protection passed with glitter. The work was rated on "excellent", but unfortunately not preserved.

In the painful search of himself, Vasilyev "Overgole" by abstractionism and surrealism. It was curious to try the styles and directions, at the head of which such fashion names were spoken, like Pablo Picasso, Henry Moore, Salvador Dali. Vasilyev quite quickly comprehected the creative credo of each of them and created new interesting developments in their key. Having plunged up with his inherent seriousness in the development of new directions, Vasilyev creates a whole series of interesting surreal works, such as "strings", "Ascension", "Apostle". However, Vasilyev himself quickly disappointed a formal search, which was at the heart of Naturalism.

The only thing expensive surrealism is, he shared with friends, it is its purely external effect, the opportunity to openly express the momentary aspirations and thoughts in a light form, but not deep feelings.

Conducting an analogy with music, he compared this direction with jazz treatment of a symphonic play. In any case, a delicate, thin soul of Vasilyeva did not want to put up with a certain frivolousness of the forms of surrealism: the permissiveness of the expression of feelings and thoughts, their unbalanced and nidity. The artist felt his inner inconsistency, the destruction of something main thing, which is in realistic art, of the meaning, of the appointment that it carries.

A slightly longer continued the passion for expressionism relating to impreit painting and claimed to a large depth. Here, the pillars of abstractionism declared, for example, that the master without the help of items depicts no longing on a person's face, but to the longing. That is, an illusion of much deeper self-expression arises for the artist. By this period, such works can be attributed as: Quartet, the "sadness of the Queen", "Vision", "Icon of Memory", "Music eyelashes".

Having made the image of external forms perfectly, learning to give them special vitality, Konstantin tormented by the thought that he was not hiding behind these forms, in essence, he was not hiding that, while remaining on this path, he would confuse the main thing - creative spiritual power and could not express - Indeed to the world.

Trying to comprehend the essence of the phenomena and to draw a common system of thoughts for future works, Konstantin took up landscape sketches. What kind of diversity of landscapes he created for his short creative life! Undoubtedly, Vasilyev created landscapes unique in his beauty, but some new strong thought suffered, he fought in his mind: "The inner power of all living, the power of the Spirit is that the artist should express!" Yes, beauty, the greatness of the spirit - that's what will be now for Constantine main.! And "Northern Orel", "Man with Filin", "Waiting", "Alien Window", "Northern Legend" and many other works that have become the incarnation of a special "Vasilyevsky" style, which cannot be confused with anything.

North Orel

Konstantin belonged to the rarest category of people who invariably accompany inspiration, but they do not feel it, because they are familiar to them. They seem to live from birth to death in one breath, in an increased tone. Konstantin all the time loves nature, all the time loves people, all the time loves life. Why he watches why and catches the movement of the cloud, leaflet. He is constantly attentive to everything. This is how attention, this love is the desire for everything good and was inspired by Vasilyeva. And this was his whole life.

Knowledge window

But unfairly, of course, it seems that the life of Konstantin Vasilyeva was deprived of inecilious human joys. One day (Konstantin was then seventeen years old) His sister Valentine, returning from school, said that they came to them in the eighth grade - a beautiful girl with green diagonal eyes and long, to shoulders, hair. She came to live in the resort village because of the sick brother. Konstantin offered to bring it to positive.

When Fourteen-year-old Lyudmila Chugunova entered the house, Kostya unexpectedly confused, drove out, began to rearrange the easel from place to place. The first session lasted long. In the evening, Kostya went to accompany people home. Vataga guys who came to meet them, severely beat him: immediately and unconditionally, Luda was recognized as the most beautiful village of the village. But could the beatings of the artist could cool the wreaks? He loved the girl. Every day I wrote her portraits. Lyudmila retell his romantic dreams to him, and he did colored illustrations. They both did not like the yellow color (maybe just a youthful hostility to the symbol of treason?), And once, drawing blue sunflowers, Kostya asked: "Do you understand what I wrote? If not, better silence, do not say anything ... "

Konstantin acquired people to music, literature. It seemed that they understood each other with a half-clow, from half a preview. Once Lyudmila went to Konstantin with her friend. At that time, at this time, along with his friend, Kuznetsov sat in the twilight, he listened to the classical music and did not respond to the included in any way. For a friend of Luda, such neatness seemed offensive, and she dragged him by his hand.

After that, the girl was afraid of meetings for a long time, feeling that he was offended. Her whole creature stretched to him, and when she completely became nemeless, she came to his house and sat on the clock on the porch. But friendly relations were interrupted.

Several years have passed. Somehow, Konstantin returned from Kazan along with Anatoly. Having met Lyudmila in the car, he approached her and invited: "An exhibition opened in Zelenodolsk. Come. There is also your portrait.

Wake-up, joyful hope awakened in her soul. Of course, she will come! But at home, the mother categorically banned: "You will not go! What to dangle somewhere, you have already full of his drawings and portraits! "

The exhibition closed, and unexpectedly Konstantin himself came to her house. Having gathered all his drawings, in front of Lyudmila broke them and silently left. Forever and ever…

Several works of half-capacity-style - the memory of youthfully search for picturesque forms and funds dedicated to Lyudmila Chugunova, have been preserved yet in the collections of Blinov and Pronon.

Warm relations tied one time Constantine with Lena Aseeva, graduate of the Kazan Conservatory. Portrait of Lena Oil with success is demonstrated on all the posthumous artist's exhibitions. Elena successfully completed the educational institution in the class of piano and naturally perfectly understood in music. This circumstance especially attracted Constantine to the girl. Once he decided and made her an offer. The girl replied that he had to think ...

Well, who of us, ordinary mortals, can imagine themselves what passions boil and disappear in the soul of a large artist, what insignificant sometimes circumstances can radically change its emotions? Of course, he did not know what the answer was to him the next day Lena, yes, apparently, it was no longer interested in it, since he did not immediately receive the desired answer.

Many will say that it is not serious and that so important questions do not decide. And will, of course, right. But let's remember that artists are usually easy to vain and proud. Unfortunately, failure, comprehended by Constantine in this walling, played another fateful role in his fate.

Mature already man, at about thirty years old, he loved Lena Kovalenko, also received a musical education. Smart, thin, charming girl, Lena ragged the heart of Constantine. In it, again, as in his youth, a strong, real feeling awoke, but fear of getting a refusal, to meet the misunderstanding and did not allow him to arrange his happiness ... But the fact that the sole of his chosen until the last days of life remains painting you can see the special purpose of the artist.

There is in this undoubtedly objective reasons. One of them is the selfless maternal love of Claudia Parmenovna, who was afraid to produce the Son from his native nest. Sometimes too pickyly, the critical Ok could take a look at the bride and then express his opinion to his opinion, to which Konstantin reacted very sensitively.

Man with fibilic

Unusual talent, the rich spiritual world and the resulting education allowed Konstantin Vasilyev to leave his own incumbent, a trace in Russian painting. His canvas are easily recognizable. It can not be confused at all, some of his works are controversial, but after seeing once the work of Vasilyev can no longer be resting to them indifferent. I would like to bring an excerpt from the story of Vladimir Solowkina "Continuing time": - ... "Konstantin Vasilyev?! - the artists protested. - But this is unprofessional. Painting has its own laws, their own rules. And this is illiterate in terms of painting. He is an amateur ..., amateur, and all the pictures of him - the amateur masses. There, not a single picturesque stain corresponds to another pictorial spot! - But let me even if this painting is not even art, then what and why is it acting on people? .. - Maybe there are poetry, your thoughts, symbols, images, your view on the world - we will not ask, But there is no ppopusional painting. - Yes, they cannot think and symbols to affect people themselves in their nude. It would be only slogans, distracted signs. And poetry can not exist in unreliable form. And on the contrary, if the picture is supercount and, professional, if every picturesque spot, as you say, correlates with another picturesque spot, but there are no poetry, nor thought, nor a symbol, nor his look at the world, if the picture does not touch Neither the mind nor the heart, boring, dying or just dead, spiritually dead, then why do I need a competent relationship of parts. The main thing here is, apparently, it is in the spirituality of Konstantin Vasilyeva. It is the spirituality that felt people ... "

Kostya died with very strange and mysterious circumstances. The official version was shot down with a friend on the railway crossing by a passing train. It happened on October 29, 1976. The relatives and friends of the bones do not agree with this - too much incomprehensible coincidences related to his death. Misfortune it shocked many. Constantine was buried in a birch grove, in the very forest where he was very loved to go.

Fate, so often evil in relation to the great people from the outside, always carefully costs that there are internal, deep in them. The thought that has to live does not die with his carriers, even when death caresses them unexpectedly and accidentally. And the artist will live while his paintings are alive.

Homesickness

Farewell to Slavyanka

Fire burns

Valkyrie over the battle warrior

Wotan

Fire spell

Fight with snake

Goodness fight with snake

Fight with snake

Fire sword

Swimming Fight with Lelief

Birth of Danube

Birth of Danube

Eugera

Vasily Buslaev

Invasion (sketch)

Alyosha Popovich and Krasno Girl

Dar of the Sochrara

Dar of the Sochrara

Ilya Muromets and Gol Kabatskaya

Giant

Knight

Expectation

Divination

Prince Igor

Wolga

Wolga and Mikula

Avdotea Ryazanochka

Ilya Muromets

Nastasya Mikulishna

Svaloga

Sviyazh

Lights

Ilya Muromets frees prisoners

Northern Legend

Reaper

Mermaid

Old man

Sadko and Vladyka Sea

Plach Yaroslavna

Collection of great permission:1700 - 7000 px (smaller side size)
Archive size: 274MB
Palmous work: 153

In the pre-revolutionary house of Petzold, right on the central pedestrian street Bauman in Kazan, there is a museum of the artist Vasilyeva. He became the only museum in which I went to the city.
1. Self-portrait, 1970

An artist was born in Maykop during the German occupation of the city. The artist's father was the chief engineer of one of the factories. After the war, he was sent to establish production at the glass factory, in the village of Vasilyevo near Kazan.
Works of the early 1960s. Amented by the influence of surrealism and abstract expressionism.
2. String, 1963. There is something from Dali, eh?

Since 1949, the family lived in Vasilyevo village. Constantine at 11 years old passed the competition and was enrolled in the Moscow Art School of School at the Moscow Art Institute. Surikova. Later turned into the Kazan Art School, which graduated with honors.
3. Decorated work

4. Atomic explosion, 1964. Just me here see the crucified Christ?

5. Birth of the Danube, 1974 from the epic epic cycle.

6. Northern Eagle, 1969. Remember this face, you will still see it.

7. Sviyazhsk, 1973. And then the style of painting is reminded me of Nesterov.

8. At the well-on the background of the gate, 1975. It was still a Russian gothic. Do you learn a man?

9. Self-portrait, 1968. I never understood how people can draw themselves ...

10. Portrait of Lieutenant Prone, 1969

11. Waiting, 1976

There is a series of paintings dedicated to the Patriotic War.
12 .. invasion. The railway column of conquerors is moving past the destroyed island of the Assumption Cathedral of the Kiev-Pechersk Lavra.

13. Marshal Zhukov, 1974. The portrait of Marshal was concealed as the beginning of a series of images of great military leaders, and was performed in a deliberately parade manner.

14. Tosca middle, 1974

"Farewell to Slavica" The artist intended to rewrite, for which I put a picture to be misunderstood, because of which the canvas suffered, as it was removed from the water after the death of Vasilyeva.
15. Farewell to Slavs, 1974

16. Forest Gothic,

17.

Icelandic sagas became the source of inspiration for Vasilyeva. He carefully studied this book, making the mark, of which it is clear that its focus is attracted to the so-called generic saga, a kind of description of the life of wonderful Icelanders of the 9th centuries.
18. Wotan, 1969. He is alone. The same look ...

Vasiliev met with the works of Richard Wagner and even specially studied German to understand the texts of his operas.
19. Viking's death, 1970. She is Valkyrie over the battle Siegfried.

The final chord of Vasilyeva was the painting "Man with Filin". In this picture, the beloved subject of the artist, the candle turns into a symbol-light, in the appearance of the elder he represents the wisdom of human experience; He seems to be in the ground with its roots, and his head connects with heaven. In his hand, he holds a burning scroll with the pseudonym of the artist "Konstantin Velikorsos" and the date that has become the year of his death: 1976. Oak sprouts, depicted like a triligent flower, wisdom and enlightenment, makes their way. Svetok burning over the sprout, the symbol of the negascin burning of the soul. Over the gray head of the old man holds a whip, and on his municipality, Filin sends, whose all-seeing eye completes the movement up, to the sky and space.

Having completed the "person with the Filin", Vasilyev said came to visit his friend and mother: "I now realized that I need to write and how to write." A few days later his life was cut off.
20. Man with Filin, 1976

Konstantin Vasiliev died - was shot down with a friend on the railway crossing by a passing train in 1976.

To understand the inner world of a person, one must certainly touch his roots. A.Doronin Konstantin Alekseevich Vasilyev () - Russian artist, whose creative heritage has more than 400 pieces of painting and graphics: portraits, landscapes, surrealistic compositions, paintings of the epic, mythological and battle genres. Among the well-known works are the cycles "Russia epic" and "Ring of Nibelung", a series of paintings about the Great Patriotic War, graphic portraits.

Native satellite places was a special, created by the Great River. In the blue haze, the right bank is rocked, almost blurred, overgrown with forest; A distant white monastery is seen on the slope, the right is a fabulous Sviyazh, all the most appropriate on the dining area with his temples and churches, shops and houses, rising above the broad meadows in the floodplain of the Sviyagi and Volga. And completely far, already for the sinky, the bell tower and the church of the village of Quiet Ples are almost visible on her high shore. Closer to the village - the river, the flow is water, wide. And the water is deep, slow and cool, and the pools of the bottomless, the shadows and cold.

.

Parents, as they could have helped the development of abilities: tactfully and unobtrusively, protecting the taste, picked up books and reproductions, acquainted costa music, carried him into the museums of Kazan, Moscow, Leningrad, when the case and the opportunity was presented. Parents saw that the boy is gifted, it cannot live without drawing, and therefore did not once thought about the advice of teachers - send the Son to Art School.

Having recovered from the first advocating impressions of the city giant, the boy was not lost in unusual space for him. Tretyakovka and Pushkin Museum, Bolshoi Theater and Conservatory - who became the main gate for him into the world of classical art. He reads the "Treatise on painting" Leonardo da Vinci with a native seriousness, and then he studies the paintings of this great master and "Napoleon" of the Soviet historian Evgeny Tarl, with all the height of the young soul, it is immersed in the music of Beethoven, Tchaikovsky, Mozart and Bach. And the mighty, almost extractable spirituality of these giants is fixed in his consciousness with precious crystals.

The Great Patriotic War before the war of the young couple Vasilyev lived in Maykop. The firstborn was waiting with impatience. But a month before his birth, Alexey Alekseevich went to the partisan detachment: Germans were approaching Maikop. Claudia Parmenovna could not be evacuated. In the eighth of August 1942, the city was occupied, and Konstantin Vasilyev entered the world. It is necessary to talk about what a young mother and baby fell into a fraction of the young mother and kid. Claudia Parmenovna with her son was taken to the Gestapo, then let go, trying to reveal possible relations with the partisans. The life of Vasilyevov hung literally in the hairs, and only the rapid offensive of the Soviet troops saved them. Maykop was released on February 3, 1943.

Creating a military series, Constantine implemented his most bold designs. One of them was the emergence of work on the topics of the favorite military marches, always playing a large role in Russian military life. The artist believed that the ancient Russian marches performed by the wind orchestras is another important cut from a powerful formation of domestic culture. And from under his brush, the works of "Farewell to Slavica" and "Tosca in Motherland" come out. He wrote them under the appropriate musical accompaniment on large canvas up to two meters in length.

Patriotic paintings by Vasilyeva, devoted to the fight against fascism during the Great Patriotic War, caused a large public resonance in our country. Great strength is seen in his epic and historical heroes. From the viewer often requires physical and spiritual tension to decide how the event happened in the picture, its plot, symbolism. The realism of harsh persons in the artist's paintings is nothing but those who are understandable to every concentration during any difficult case.

Description of the painting "invasion" Konstantin Vasiliev

When searching for information about the picture K. Vasilyeva "invasion" you will certainly find something about the fact that the rock festival is held in the Tver region. Open-air gather domestic rock musicians, among which A. Vasilyev with the Splin group. If you have sufficient subsidism and at least do something in the genealogy, you will find an amazing fact: a musician and artist - long-range relatives.

And, if the first is known enough, then you can find quite miser information about the second. So, K. Vasilyev wrote on special, heroic topics. The Great Patriotic War, the past of Kievan Rus, the Bogatyr cycle - all this was reflected in his special worldview. Pictures "Parade 41th", "Tosca in Motherland", "Farewell Slavic" have almost tangible sound. If you look at the work "invasion", then you will see how the artist depicted the fear of losses and hope for the best, human faith and challenge.

The main motifs of the painting "invasion" is a feeling of fear, grief and death. It seems that barriers for conquerors does not exist. However, in the interpretation of the author it is not silence, but lull. The views of the saints from the ancient frescoes seem to warn that the conquerors, although they conquered half airs, will not be able to capture the Holy Rus.

The idea of \u200b\u200bthe picture was launched by the artist long enough. Vasilyev rewrote the cloth several times and from the initial multifigure composition with the battle of the Teutonic Order with the Slavs, only ideological meaning remained on it. Battle scenes were abolished, only the struggle of the spiritual and ideological and symbolic conflict remained.

The key way for this work Vasilyeva is the word "invasion" itself. As a rule, this definition is used to indicate the invasion of enemies into the country, and the huge number of enemies. This is the lexical meaning of a word that carries the deepest subtext. The picture could simply be called "War", but it is possible to fight for the fact that expensive for what is holy. The semantics herself the words "War" carries sorrow, cruelty and death. However, people can fight, defending their beliefs and the desire of a better life. The word "invasion" does not reflect the defendance of beliefs, it is simply becoming a synonym for rough meaningless strength. Under the invasion, it is most often meant to no-reasonability, emergencyness and spontaneity. In addition, the invasion symbolizes what it is difficult to stop.

In order to better understand the ideological meaning of the picture, it is worth remembering the features of the use of this word in Russian: the invasion of the Tatar-Mongolian Horde, the invasion of Napoleon, the invasion of enemies and even the invasion of locusts. Try to pronounce these phrases out loud, and you will understand what they said about a strong, terrible and inevitable event.

Considering the colorful features of "invasion" it is impossible not to notice that the main color in the picture is gray. This tint stains the ground, the fire, clouds and even saints. As a rule, gray is a dull, sad and sad symbol of human life. The psychological features of gray are concluded in the creation of a state of despondency, sadness and sadness. Only this hue is able to create an oppressive mood and a feeling of gravity. Gray is monotony, tragedy and indescribable sadness.

The thunderstorm gray tones of the picture cannot not be pulled out the depressive state. Yes, and he has, where to appear: Ruins on the background of lead-gray sky, the licks of the saints with inhuman sorrow in the eyes. All canvas covered in a single auditory manner - silence, with severe and ominous. The only thing heard in silence is a march of enemy troops on the road.

Vasiliev seems to pushes us to the division of the world into two parts. On the right side, it depicts the army of the invaders, more precisely, is hordes. They seem endless and collected part of this world. On the left we see the ruin, which touched and one of the main human shrines - the temple. Look at the sky: it is gray with shades of blue and dirty purple divorces. Where you can see the lumen between the clouds, look pale, even the deadly pale glare.

On canvas in front of us only two characters. The stronghold of faith and hope of Russia remains the ruined Assumption Cathedral of the Kiev-Pechersk Lavra with the remnants of the saints. They were harshly closed the lips and raise prayers to God, hoping that he would retain the life of people. The second character is the destruction, which reflects the iron horde of the invaders.

The destroyed temple in the "invasion" is scary in itself. Vasilyev writes the blast shrine, which once gave people moral support, consolation and hope for the best life. Temples, as you know, have always been in the consciousness of the Russian person an important part of his cultural heritage, since they were erected in honor of an important event and were significant for history. Now only dumb witnesses remained from him - the figures of the saints, symbolizing not only all-possible grief, and the spiritual power of people. Christian martyrs on the background of invasion are not just faces, these are the judges who give everyone according to his acts.

Painting Vasilyeva creates a mood, but does not give a response to many viewer questions. For example, she will not say why healing the conquerors moved to Russia, but will exacerbate the sense of justice. The viewer involuntarily begins to believe in her celebration, that the people can even survive in the terrible time for him. Many, despite the fear created by the artist, are not experiencing it, but on the contrary, they know that everything will come soon. There are, of course, pain for their loved ones, for destruction and death, but the faces of Christian saints are able to give hope: if they survived, people will stand.

The picture "invasion" is very important for raising not only patriotic feelings, and to strengthen faith. As a rule, she inspires on a lot, and the person who believes is impossible to win.

Another aspect of "invasion" is a warning. Vasilyeva canvas shows that the conquerors invaded Russia and can do it again. The artist calls us to think about the future, especially in the conditions of modern, far from peacetime.