Salvador gave the crucifixion of Christ from St. John. Dali: Crucifixion as ascension

I often listen with horror guys that they tell teams of tourists in our temple. Often, for example, the image in the altar is called the "Cross of John the Baptist". It is clear that neither the journalist nor a guide nor the teacher should necessarily have an idea of \u200b\u200bwhat they tell. But I really want to think that for the visitors of the temple, it is important not only to look at the alien morals and the orders of the "Church". Yet -Cartin is called "Christ of St. John Cross."

I tried to fix and translated something for her from Spanish. Very well wrote about the picture himself Dali: ... First of all, in 1950, I saw a "cosmic dream", in which this picture appeared in color and which in my dream was the "core of atom". This kernel then acquired a metaphysical meaning, and I considered it as the main component of the Universe - Christ! Secondly, when thanks to the instructions of the Father Bruno, Carmelita, I saw the drawing of Christ drawn by the Saint John Cross, I developed a geometric triangle and a circle in which "aesthetically" summarized all my previous experiments, and I entered my drawing of Christ in this triangle. Initially, I did not want to portray all the attributes of the crucifixion - nails, a thorns of the crown, etc. .- and turn blood into red carnations in your hands and legs, with three flowers of jasmine, omitted to the wound on the side. But until the end, my decision changed the second vision, perhaps because of the Spanish saying, which says: "Little Christ, too much blood." In this second dream, I saw a picture without anecdotic attributes: only the metaphysical beauty of Christ is God. ... My aesthetic ambitions consist in the fact that the canvas is opposite to all images of Christ made by modern artists who applied the expressionist manner, causing emotions through the deformity. My main task is to depict the beauty of Christ as God, in the fact that he personifies.

These words are allowed to understand the other - how much did it differ from that caricature character, which he appears from the words of other guides. Everyone who has been to Figueres, Polela, museums gave this classic chewing. First, it is served as the most important fact of the biography gave the fact that he was married to Russian. Then it describes in detail the biography of the Gala's parents and its complete misfortunes of childhood. Then the guide goes to the full scuba diverse details of their family life, and then tells about the creamy tricks gave and market prices for prints of his engraving. When, in the basement of the theater-museum in Figueres, I tried to see the jellyfish, fantastically drawnly drawn, already then it seemed doubtful this image of a clown. And there is. The picture "Christ of St. John Cross" is a clear outcome of the labor of philosopher, theologian, if you please.

Another thing that this picture makes it possible to pay attention to the personality of St. John the Cross, no, of course, is not a baptist, and the Holy Juan de la Cruz, the Great Spanish Mystic, the theologian of the Dark Night. It is her, the dark night, depicts given in the top of the canvas. The absence of other people in the picture, that is, as if the absence of emotions on it and corresponds to the idea of \u200b\u200bSt. John. Probably emotions in one way or another correspond to our lusts. I love it \u003d I thirst for it. I do not like it \u003d I'm thirsty of death. The absence of emotions, "dryness" of St. Ioann considered the right sign of the soul path to climbing the mountain in the dark night. Thirst for God, probably, should really be a coaling, super moto. That is, we do not like to breathe or do not love to drink. We cannot exist without it. John does not write that without God you can not exist, as without air, it would be too simple. He writes about the path of the soul, which has lost the emotional component from the proximity to it (as lost necessity), but not learning to still enjoy the spiritual, direct contemplation of it. About the bride, which is looking for the groom in the night. She is not glad to be in the night emptiness. It does not move romantic feelings or lustful impulses. She understands that he cannot exist differently how to search for, thirst for his being. Her only feeling - longing, thirst, but not lust.

Along with Chagall and Picasso, Calwador Dali is one of the most famous artists of the 20th century. In Russia, even a kind of "cult" was given. It is his image with antenna aggress and a semi-dry look at the phrase "ingenious artist". This image is so much strung out, which will not understand who gave actually: a genius-mystifier, which even those who have never been to the museum know, or greedy charlatan (opinion of some art critics), whether he is or Freudian? Let's try to figure out the example of the story of one of the most famous paintings by the wizard.

Salvador Dali. "Christ's Holy Juan de la Cruz." 1951

Constructivists against surrealists

The artistic and ideological life of the first half of the 20th century passed under the sign of confrontation between constructivists and surrealists.
Constructivism was an ideology of rational and mathematically cold art. The constructivists saw their goal in changing the lifetime, the structure of human relationships, the type of household items, apartments, houses, and even cities. The overtookation of constructivism was, of course, dried up - to create a new society existing on the beginning of well-thought-out functionalism.

If the ideal of constructivists was a designer engineer, then the ideal of surrealists is psychoanalyst. Surrealism focused on intuitive, dream, fantastic. Surrealists have a man (artist or poet) himself turned out to be a machine of dreams, a mechanism with a pencil in his hand. It should be simply engaged in spontaneous creativity, in no case "including the head" in any case, in any way, do not interfere with the process of self-expression. The theory of Sigmund Freud allegedly guaranteed that the masterpiece will succeed "by itself" ...

Poet's dream: Surrealists on a picnic with naked models.

In the early 1930s, Salvador Dali actively participated in the triumphal procession of surrealism in the world capitals, but in 1934 the artist with a scandal is expelled from the surrealist group. And after he proclaims himself with a supporter of Catholicism and monarchy, almost all previous friends tear with him any personal relationship (as you know, surrealists sympathized with the Communists, and by no means the Vatican).

Catholic dandy

It is asked why Freidist Dali (famous for their blasphemes, mania of greatness and cynicism) was needed by Catholicism?

People closely communicated with the artist, argue that the mask of the crazy genius was given to the press and journalists, and at home he went with a normal face.

By that time, there was already a fairly respectable tradition of the relationship between bohemian nihilism and Catholicism. The first tracks here were the French Dandy, who sought to turn his whole life into the work of art. The extreme of such an aesthetic position is depicting the writer Gyuismans on the example of desars of Essent from the novel "on the contrary." This Hero-Dandy leads a nightlife, as the light of the day "opposes" to him. He spends time in constant search for all new and new sensations and temptations. Over time, the temptations come, and you want something even more sharp, "forbidden." As Oscar Wilde wrote: "The charter to wander on tops, I voluntarily sank into the abyss. There I was looking for new charm. I longed for sickness or madness, but most likely - the other." Oscar Wilder convincingly showed where this path leads to the example of his literary hero Dorian Graya.

This cracked ideal did not remain only on paper, but was in practice implemented quite a real person, Aristocrat Eric Stenbock. Graph of Stenbock lived in the XIX century, died at the age of 36. He was an extremely eccentric figure: a homosexual, a decadent, a drug addict, an alcoholic and a poet. Stenbock was obsessed with satanism, vampirism and Catholicism. In recent years, his life appeared accompanied by his confessor and a huge wooden doll with an increase in man, he called the doll "Little Graph" and seemed to consider her her son ... Brrr!

According to the researcher of Dandeism Otto Mann, "the fall in evil and the union with evil is not only a consequence of the wrong step. Before Dandy there is a religious problem here. And he can decide it, only if he returns to religion. Such a fracture can occur in the face of the collapse of the "aesthefactive" being. At the end of the novel, "on the contrary," dandy falls, calling for Jesus Christ. The writer Gyuismans, who portrayed himself here, leaves the dandyism to asceticism, becoming a monk. "

Salvador Dali, naturally, no monk (still!), And I doubt the sincerity of His "appeal," but the artist was really captured by mystical images, often he was taken to work on paintings immediately after waking up, since it was very reverent about visions and Dreams (hello Freud!). Also gave very much loved and carefully studied the work of the old Spanish masters of Surbaran and Murillo, sincerely believers of Catholics who drew their inspiration in religious plots.

Upstairs - a fragment of the painting "Breakfast" (1617) of the brush of Diego Velasquez. Below - the fragment of the canvase was given "live still life" (1956).

In 1950, the monk-carmelite Bruno de Jesus (loved to hang out with intellectuals and artists) told him about one rare old image of the crucifixion. It belonged to the hand of the poet and mystic writer named Huang de la Cruz. It is worth making a brief excursion in the history of Catholic spirituality.

Spanish mystics, "Bare Brothers"

The XVI century, the golden age of Spanish mysticism was also the time of the heyday of the Inquisition. In this dark time, those Sveti, who later called "Spanish mystics" were revealed. The most famous of them: Catholic Saints Teresa Avilskaya and her student Juan de la Cruz.

Teresa Avilskaya began to implement their reforms in the seventies of the XVI century. She had a character at least where: in childhood, Teresa taught her younger brother to escape from the house to die for faith in the country of Moors. Of course, the fugitives returned. At twenty years, the will of the will of the Father, Teresa went to the Carmelitian monastery.

The idea of \u200b\u200bthe need to return the Order to the original charter came to her after recovery from severe illness. The nuns have already dug the grave, but the crisis passed. From the contemplative life of Teresa rushed to active activity and went on foot, hundreds of kilometers throughout Spain, personally baseing new abode.

Lovers of art of Teresa Avilskaya familiar to the chic sculpture of Bernini "Ecstase Sv. Teresa":

According to Teresa Avilskaya, Cherubin punctured her heart with a fiery copy. She wrote:

What the death mustle
sandre in the heart of the wound this!
Pain that there is no equal;
death - and life that she is a reward!

Huang de la Cruz

John the Cross (Juan de la Cruz, Span. Juan de la Cruz) - Catholic holy, writer and poet mystic. Reformer carmelite Order. In 1952, he was proclaimed by the Heavenly Patron of Spanish poets. His story is so.
Juan was born in the summer of 1542. Parents were very poor and Juan gave the shelter, where he studied the crafts of the shoe, joiner and painter. In his youth, he studied literature, philosophy and theology of Jesuit, and the livelihood mined, working in a Medical hospital for syphilitics. Soon, Juan took the lead in the Order of Carmelites. A very strict charter was developed in the Order: poverty, ascetic exercises, posts, long prayers, physical work. At the end of the XV-early XV century, the Order began to lose their own influence, and to the described point began to split into two branches - on the so-called "shoes" and "barefoot". (This does not mean that barefoot carmelites in the literal sense of the word all year round went barefoot. They wore sandals on the straps and preached poverty, unlike the "shoes", in the winter we had warm shoes.)

The first meeting of future great reformers occurred in the summer of 1567. Brother Juan was very small in Teresa, when he first appeared in front of her with a like-minded person, exclaimed: "Glory to Jesus, I have already half a monk!" (He was then 25 years old, Teresa - 52 years old.)

Huang de la Cruz wrote that all visions and revelations, no matter how much of them would not stand and one humble act. But a reliable certificate has been preserved about one vision of the saint. Christ from the Clasel icon turned to him and asked: "What do you want, Brother Juan, for your works?" Juan de la Cruz replied: "Let me suffer for you!". The request was performed - in prison with him, they turned out that Teresa wrote the Spanish King Philip II: "It would be better if he got into the hands of Moors, for Maur would be merciful."

St. Juan with Life. Fragment of the modern Catholic icon of "Byzantine" letters.

In the tiny camork, where the Huang brother, the source of air and the light served as a gap under the ceiling of two fingers width. Light on the winter day was so little that the prisoner had to get up on the stool to read his prayer. His clothes have thinned. In the summer he was tormented by the heat, the cold was tormented in winter. Waiting for help from dad was useless. The papal governor of Sega gave an oath to end the barefoot, subdued by the terrain, and freed from the "harmful" influence of Teresa, which he called the "annoying woman, who dedicated himself to the composition of books, despite the command of the Apostle Paul:" Your wives in churches are silent ", and the foundation of monasteries Without a papal license. "

Dark night soul

Spring has come, and the prisoner changed the jailer. The new jailer was subsequent. He asked the prisoner, whether he needs something, and he asked for a pencil and paper. In prison, he wrote one of his most famous works: "Dark night of the soul."

In Avila, in the museum of the monastery of the embodiment, the picture was stored, made by Brother Juan shortly before his imprisonment. This crucifix depicted in a very strange perspective - so, from above, I would see his soaring bird. Subsequently, this view and used El Salvador Dali in his famous painting "Christ's Holy Juan de la Cruz".

St. Juan de la Cruz. Crucifixion OK. 1577

Drawing of St. Juanus prompted gave the idea: take a look at the crucifixion from above. Naturally, this drawing was not the only prototype for the painting.

Artist at his canvas.

The history of creating a picture

Return was given to his favorite Catalonia, he was again with a spanish artistic tradition associated with such glorious surnames as Velasquez and Surbaran. In 1951, Dali published his "mystical manifest". In it, he accuses modern art in atheism, materialism and other sins. The author of Manifesta, Salvador (his name means "Savior"), is obliged to "save modern painting from tanniff and chaos." Returning to Spain, Dali imagined himself the last in a long row of Catholic mystics. "I want my image of Christ more beauty and joy than everyone else, created before that day. I want to write Christ, who will be in all respects the opposite of the work of materialists and the barbaric image of Christ from Grunevald. "

Matias Grünevald. Iengeim altar. 1500-1508. Fragment. The body looks explosive, blood and spikes.

By tradition, in Catholicism, a large focus is made on the suffering image of the Savior, the culmination of which is crucifix. Dali, apparently, I wanted to reverse this trend, and give a "positive" look at the event. Interestingly, the Russian icon painters also tried not to force the emotions of fear and horror, but to emphasize the contemplative, timeless aspect of the Evangelical history.

Dionysius. Crucifixion 1500 year. Tretyakovskaya Gallery, Moscow

The years spent in America were connected with Dali with Hollywood, and he asked the studio boss Jack Warner (the one who "Warner Brauers") to help him find a suitable simulator for the painting. Warner arranged a casting and found a suitable model for the artist. The next day, the simulator joined the studio, highlighted with sofits and photographed in the desired perspective. The pictures made in the Hollywood studio sent to Spain, where they gave them to use them. The artist performed a graphic sketch, and then with some changes suffered it to canvas.
If someone confuses that they gave the "painted" from the photo (and not from nature), then I can console, saying that and long before the invention, the photos of artists were used by the various optical devices in order to facilitate their work; And in general, there is not a process, but the result.

Work on the picture lasted 5 months. Canvas size - 2 meters 13 cm per meter twenty. In December 1951, the picture was exhibited in the London Gallery, with a large crowd of the people and journalists. Dali worked in the public: Korchil Rozhi, carried a new-fashioned nonsense about protons, electrons and nuclear mysticism, calling themselves an "atomic artist".

Now the canvas is located at the Glasgow Museum, United Kingdom. At the bottom of the picture, at the foot of the cross, the artist depicted a view from the window of his house in the port of Lygat.

Darkness and black backgrounds at the top of the picture refers to the rows of the poem of St. Juan "Dark Night of the Soul":

It is the night, which is written:
and night will be light as day;
and the night is my light in joy to me. (...)

About truly blissful night
in which the earth is connected with heavenly,
human with Divine!

(L. Winarov Translation)

As the director of the British Museum of the Nile McGregor, the director of the British Museum of Nil McGregor, noticed, are not a picture of the crucifixion itself, but with the vision of the crucifixion of Saint Juan de la Cruz. Such a move was allowed to focus not on the historical details of the Calval execution, but to present the crucifixion as an event of world, cosmic meaning. This is largely achieved by combining on the same plane of the web of various points of view. So, the viewer seems that he looks at the crucifixion from above, at the same time, while being on the ground, which, in turn, looks from above Christ. Contemplation closes into a "golden triangle" ...

Dali and Vatican

"Christ's Holy Juan de la Cruz" and other religious paintings brought gave the fame of the "Catholic painter". He himself said that in Catholicism, he was captivated by the "rare perfection of the plan." The artist also thought about his own paintings for a long time and built, largely relying on the achievement of the Masters of the Renaissance and the Old Spanish School.

In 1949, Dali even won the audience at the Pope of Roman XII, where his Holiness was shown the painting "Madonna Port Lygat". Modern "cultural workers", of course, should not be dedicated to the attention of Pope to modern art; Art is interesting to the Vatican not in itself, but as an effective preaching tool. The scandalous mystic was given as it should not be better answered by these expectations.

I think they found each other - post-war Catholicism, directed towards reforms and novelty, and Dali, with his aesthetic burden to tradition and hierarchy.

S. Dali. Ascension of Christ. 1958. Another work of the Catholic Period. In my opinion, according to the quality of the plan, it is very inferior to the picture we have discussed. As if, the reproaches of some art critics were given in Kitche and the miselers were not devoid of foundations ...

Instead of afterword: Soviet surge

In the USSR, there was a certain "cult" of Salvador Dali, if I could say so. Dali impressed by his mystery, discrepancy, and also (which is important) the ability to draw in academic stylistics. As one of the artists recalls, "we were taught at the Academy of Arts, how to draw, but why didn't you teach to draw." The gap between the dreams and reality was survived painfully. Soviet artists also wanted, as gave, to be on the audience, even if the Pope of Roman, then, at least, at the Patriarch of All Russia; and paint wonderful chapels and temples, and not faded fogs of the KPSU leaders.

As Sarcastically, art historian Boris Groys was spoken about such painters, "they want to be serious artists - no worse than the authors of the Renaissance and Baroque. They owned a fuamy idea that they were sitting in the USSR, as if at the same time were in Florence the XVI century. This is a fair Eastern European dreamence. People sit there in themselves in any basement or in the attic and say: well, around dirt and slush, Soviet wolves are treated, and I sit here and reflect on something sublime - about Zen-Buddhism or Byzantine theology. A similar psychology of the 60s I remember very well: it was such an elevated and dreamy state of the soul, which ignored all the historical and other gaps between their own situation and the situation of those people with which the "high dialogue" was conducted. In short: I sit in Izhevsk, but conversation with Plato! "

Sarcasm Groys is understandable, but not all such artists liked a role-playing game in the ivory tower. In some people, there was a thrust for meaning, and the lack of him in life led to self-dispersion, the inner engine was becoming a mad thirst for liberation from the entire Soviet Space. It was usually turned around with ascoilization, illness and immersion in the "dark night of the soul", alive of which were far from all ...

One of the paintings indicating the impact was given in domestic artists. 1978, the author is unknown.

I would finish this material I would like an extensive quote from the memories of the Moscow artist Alexei Smirnov, who condered the whole essence of the phenomenon of Soviet surrealism, where the fantastic became not the paintings, but the whole tissue of life in the insane dance of the concentration universe, where were their Roman dads, chapels and, Of course, the "dark night of the soul":

"... In those years, I realized that neither of the official Soviet art, nor in the nonconformist art of the path for me. But I had a blow - offered to renovate the temple on the bird, that is, near the bird market in the Kalitelikovsky cemetery. The temple never closed, it was a later objective construction with the dome of the Matthew Kazakov school and the middle of the nineteenth century bell tower. ... There was a huge cemetery with a very frequent labyrinth of graves with iron lattices around the church. In the fall and spring in a cemetery with a bird market, dried drunkards, tramps and spacing prostitutes. They drove on the graves and covered there. At night, waking up from the cold, they tried to get out of the labyrinth graves and sometimes stuck between the lattices. And then scary irlined and rushed. They walked stray dogs. There was a terrible cacophony. For an unusual person at night on the cemetery, it was rather crazy, a man and a dog crawled from different sides were distributed from different sides. In the temple there were night-burns, older women. They were in horror baptized and afraid to go out.

From the bird market to the cemetery led an old alley. On Sundays, the shaken alcoholics were stood along it and sold purebred dogs from all over Moscow, which were overlooked from a multi-party and unfamiliar place. What there were no breeds here: Dogs, Pointers, Setters, Hydrobcons and just a meal. Alcoholic non-sold dogs threw, and they lived in a cemetery, uniting in large rather dangerous flocks, rushed at passersby. My animals have always loved, and I, passing around the cemetery at night, fed the dogs by Barancas and sweets from the eve of the eve (Canon - a memorial table with candles and memorial foods) that repaid in advance. One of the worshipers who lived near the cemetery, told me horrific stories from the times of her pre-war childhood. She and all residents of the neighboring houses were seen from the windows, as in Rips around the cemetery, Chekists were overwhelmed with a huge number of dead naked male and female bodies. The machine approached, upholstered from the inside with galvanized iron, two security officers went out in leather black aprons and gloves and special hooks, so as not to go out, engaged the corpses and painted them into the pit. Local gravers poured the corpses of the earth. Sometimes five or six bread vehicles arrived a day. "And all the young and such gods of the body were, especially women - some beauties," the old woman told. "Fifteen years old were taken, almost until the fortieth ago, Tyshshi are lying here, the whole city is zakopan."

From these stars was done somehow not. Apparently, the Moscow Elite interrupted into the Kalitelikovsky cemetery. Here OGPU and the NKVD staged one of their mass grains. I knew this old woman well, I told a lot with her, she was not able to lie.

I was invited to the Kalitikovsky Church, Boris Semenovich Vinogradov was invited me. It was a very capable proletarian from the Barakov near Moscow. He fought at the front, then he studied at the Moscow Art School named after 1905, then wrote landscapes in the style of Korovin. Color he felt well. She passed the landscapes to the salon, earned well, but then in the Moscow Regional Art Organization, a party Führer appeared - a mediocre landscape of Polyushchenko, who captured all orders, and a lot of paintings near Moscow remained without a pieces of bread. Then Boris Semenovich became cruelly to drink and became a restorer icons. He drank monstrously, Boris Semenovich had a white hot one very long ago. Sitting on the forests, I suddenly inspired him that he was the last Indian leader from this tribe, and Anaconda and Jaguars crawl around the forests. He roared on the whole church: "I SIU! Anaconda, Anaconda! ", And church workers and priests told him:" She is, Boris Semenovich, green. " He would be kicked out of the church, but I always had a sober, my work arranged them, and we successfully collaborated.

In Kitnitchiki, I was allowed to work, since I am not noisy on the forests during the service, and since then I used to be accustomed to listen to church singing and write under it in the temples. It turned into a habit to interfere with paint, writing faces, listening to church singing. From this was done easier in the soul. Already then I was addicted to sleep on the woods on the stinky proletarian van, where I was quite comfortable, and I realized that in addition to wild Russian temples, there was no other land for me. I came to help me, then my friends, now the late Yura Titov, and Sasha Kharitonov, and the poet of Yevgeny Golovin, and his friends-mystics, and the Mamleyev writer with his marasmatical followers. And everyone was very good to eat and diluted with boiling water, Armenian wine diluted with boiling water. I was wondering to observe my non-conformist friends in the conditions of the current temple. I myself never blasphesed, did not touch the thrones, Relics, rudely did not express, leaving and entering the temple, was always baptized, applied to the icon of the Virgin, and most of the friends belonged to the temple differently. They were a lot of things, they were alien to the Russian church tradition. Only some felt themselves in the temple differently than in the apartment. I would say, reverently.

In any temple of any confession, there is a special mystical atmosphere, a constant repeat of texts, prayers, the communication of believers with God creates a special building of higher energy. Even destroyed and desecrated by the Bolsheviks of the temples retained this particular atmosphere of mantle and grace. In the Satanian temples, I have not been, people who are obsessed with a demon, I always avoided and internally worried, and therefore everything connected with their black cults is unknown and scary to me. From my point of view, a person is so initially weak, the defenseless creation that any kind of Satanic pride is contraindicated to people whose temporary stay on earth is surrounded by terrible mystical, initially timeless, secrets.

But in the life of each person there are bright stripes, not burdened with diseases and betrayal. I had such a bright period connected with the Kalitikovsky cemetery and another two temples, where I worked and where it was mentally easily. And I worked in dozens of temples and in the cathedrals and saw the struggle of light and darkness everywhere, and, as a rule, won the darkness ... as an eastern Slavman, I am always joyful from the carnival and public holiday and life, and religion. And in Kitnitchiki, there was a luxury of a non-destructive temple, the magnificity of services, a variety of dog and the human environment of the cemetery, and this scenery mounted with horrors shot souls, souls there, who felt over these places. There was a full range of all the spiritual components of Russia, and I always wanted to go there, and it worked there easily and joyfully, and the brush itself fled on the walls of the temple. "

Despite the fact that many paintings were given by provocative, experimental character, in this work the author tried to embody a deep religious and mystical meaning. A picture of Salvador was inspired to write a picture made by the Saint John Cross (1542-1591), which portrayed its ecstatic vision of the crucifixion from above, as if by the eyes of the father. The cross in this picture acts as a bridge between the Father's God and the mortal world depicted at the bottom of the paintings. Dali claimed that he, like John of the Cross, was visited by two ecstatic visions, in which the idea of \u200b\u200bthis work was formed. Salvador Dali himself explained the idea of \u200b\u200bthis painting like this:

... First of all, in 1950, I saw a "cosmic dream", in which this picture appeared in color and which in my dream was the "core of atom". This kernel then acquired a metaphysical meaning, and I considered it as the main component of the Universe - Christ! Secondly, when thanks to the instructions of the Father Bruno, Carmelita, I saw the drawing of Christ drawn by the Saint John Cross, I developed a geometric triangle and a circle in which "aesthetically" summarized all my previous experiments, and I entered my drawing of Christ in this triangle. Initially, I did not want to portray all the attributes of the crucifixion - nails, a thorns of the crown, etc. .- and turn blood into red carnations in your hands and legs, with three flowers of jasmine, omitted to the wound on the side. But until the end, my decision changed the second vision, perhaps because of the Spanish saying, which reads: "Little Christ, too much blood." In this second dream, I saw a picture without anecdotic attributes: only the metaphysical beauty of Christ is God. ... My aesthetic ambitions consist in the fact that the canvas is opposite to all images of Christ made by modern artists who applied the expressionist manner, causing emotions through the deformity. My main task is to depict the beauty of Christ as God, in the fact that he personifies.

History

The artist was so seriously completed to the completion of this work, which did not want to leave the first sketch. In order for the paint on this picture to dry on time, Dali spent central heating in the port in the port. In 1961, a mentally ill visitor ripped the bottom of the canvas, throwing a brick into it, but the picture was successfully restored. At the time of closing the Kelvingro Museum (1993-2006), the picture was in the museum of religious life and the art of St. Mungo. In 2006, 29% of votes took 29% of the vote at the competition of the most favorite paintings of Scotland. The Government of Spain offered $ 127 million for this picture, but the proposal was rejected.

Art techniques

In the picture, two different perspectives that are exactly converging at the point of disappearance of perspectives. The bottom of the picture is executed in a traditionalist manner. This fragment of the picture is inspired by the works of Le Naina and Velasquez.

Liturgical value

Despite the non-canonic image of the Passion of Christ, the fresco-copy from the painting is located in the altar of the Catholic church of the Most Holy Heart of Jesus in Samara.

Links

Salvador Dali (list of works)
Selected Pictures	Landscape near Figueras Holiday in Figueres Garden in Llanoe Grey night walk Cubistic self portrait Portrait of Louis Bunuel Roma Bottle with Siphon Honey Swealth Blood (Etude) Gloomy game The first days of spring Great masturbator The Persistence of Memory Morning fantasy Ghost of Vermer Delftsky, able to serve and table Face Mei West Morphological echo Archaeological echo "Angela" Mill Autumn cannibalism Soft design with boobs (premonition of the Civil War) Giraffe in fire Metamorphosis Narcissa Sleep Swans reflected in elephants Phenomenon of facial and vases with fruit on the seashore High instant Face of war Slave market with the phenomenon of invisible Bust Voltaire Honey is sweeter than blood Sleep, caused by a bee flight around a pomegranate per second before awakening Galarin Basket with bread Temptation of St. Anthony Elephants Atomic Leda Madonna Port-Lygata (first version) Christ of St. John Cross Galatia with spheres Disintegration of constancy of memory Crucifix or hypercubic body Sodom's Satisfaction of the innocent Virgin Mystery evening Live stillrmort Opening of America Christofore Columbus Catching tuna Hallucinogenic Toreador Dovetail
Sculpture
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Watch what is "Christ's Holy John Cross" in other dictionaries:

This term also has other meanings, see the Church of St. John. St. John's Church in Cesis The largest in Latvia ... Wikipedia

John the Cologovo Apostle Monastery on Patmos - [Greek. Ιερὰ μονὴ αγίου ιωάννου τοῦ θεολόγου τῆς άετμου], imp., Patriarch, Stavropigial, Husband., Hostel, is in jurisdiction to the Polish Patriarchate. Historical essay of Montop Ap. John the Theologian on Patmos Mont Pie AP. John ... ... Orthodox encyclopedia

John Lampadist Monastery - [Greek. Ιερὰ μονὴ αγίου ιωάννη τοῦ λαμπαδιστῆ] is in p. Calopanayotis, 60 km from Nicosia, in the Maratas Valley, lying between the mountain chains of Troodos (Cyprus). The Valley was called Mirianfus, that is, "coated with tens of thousands of colors." ... ... Orthodox encyclopedia

John Acts - [Greek. Πράξεις τοῦ ἁγίου ἀποστόλου κα εὐαγγελιστοῦ ιωάννου τοῦ θεολόγου; Lat. Acta Joannis], early christmas. Apocrif, describing the ministry of the AP. And the evangelist John the Theologian, one of the oldest monuments of Christian writing. Authorship and ... ... Orthodox encyclopedia

Juan De La Cruz ... Wikipedia

St. John the Cross of St. John the Cross (also known as St. Huang de la Cruz and St. John the Great, Sp. Juan de la Cruz); (June 24, 1542, Onivereros, Spain December 14, 1591, Ubeda (úbeda), Khan, Spain), Present Name Huang de Yepes Alvarez (P. Wikipedia

This article about various views on the shape of the execution of execution, which was used to crucify Jesus Christ. For relics, see the life-giving cross. The shape of the Cross of Jesus Christ is a discussion question for a number of secular historians and philologists, and ... ... Wikipedia

Basilica Basilica of the Holy Clement Basilica di San Clemente ... Wikipedia

Peter Paul Rubens Removing from the Cross, 1612 kruisafneming tree, oil. 420.5 × 320 cm Cathedral of the Antwerp Mother of God, Antwerp ... Wikipedia

JESUS \u200b\u200bCHRIST - [Greek. Ιησοῦς χριστός], the Son of God, God, which was in the flesh (1 Tim 3. 16), who took over the sin of a person, his sacrificial death made it possible to his salvation. In NH, it is referred to as Christ, or Messiah (χριστός, μεσσίίς), son (ἱόςἱός), son ... ... Orthodox encyclopedia

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• The Life and Akathist of the Holy Apostle and the evangelist John the Bologoslov, choosing the Delight of John, the Lord called him the son of Gromov, theologian, because the theology was like thunder should have announced the universe. For meekness and purity John ... Category:

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Mikhail Epstein

The canvas "Christ St. John Cross" (1950-52) marks the return of Salvador's surrealist given to Catholicism and the intention to devote themselves to religious art. I saw this picture in the Kelvingrove Scottish Museum (Glasgow), where it was from 1952 on it - a crucified Jesus presented in an unexpected perspective. Not below, from the foot of the cross, i.e. Eyes of students and descendants who bow to the sacrifice of the Savior. 1 1 We see the crucifix from above, from the stainless heights where Jesus goes back. His Spanish Mystic Sv. John Cross (Juan de la Cruz, 1542 - 1591), who left a pencil sketch of his vision.

The canvas "Christ St. John Cross" (1950-52) marks the return of Salvador's surrealist given to Catholicism and the intention to devote themselves to religious art. I saw this picture in the Kelvingrove Scottish Museum (Glasgow), where it was from 1952 on it - a crucified Jesus presented in an unexpected perspective. Not below, from the foot of the cross, i.e. Eyes of students and descendants who bow to the sacrifice of the Savior. 1 1 We see the crucifix from above, from the stainless heights where Jesus goes back. His Spanish Mystic Sv. John Cross (Juan de la Cruz, 1542 - 1591), who left a pencil sketch of his vision.

According to him, they gave and created his huge web (200 cm x 116 cm).

Jesus surrounds Darkness. The cross soars in black space over the sky and the luminais, - in the emptiness, which would be invisible if the light source was even higher. This source himself remains invisible, but Jesus's hands discard the shadow on the crossbar of the cross. There are no traditional attributes of crucifixes: neither nails, nor wounds, nor blood, no thorns, no traces of suffering and death. The body of Jesus amazes athletic addiction, strong muscles, it looks like an athlete who, pushing out from the cross, is preparing to take a jump in height.

The crucifix hangs over the surface of the sky, earth and water. At the very bottom of the paintings - the lake and three human figures resembling fishermen. Obviously, it is the Galilee Sea and the apostles, the Earth's life of Jesus, which ended with a crucifix. Above this picture from the past - clouds and clouds in several rows, a dense, multi-layered earthly sky, over which the crucifix is \u200b\u200bwrapped. Christ appears free from the cross, he will take off on him - and above him. We do not see faces - it is drawn down, to the past, which he leaves, asking for a light source. This decreased world is seen from above - as if by the eyes of Jesus himself.

In my opinion, S. Dali drives together two scenes, which are usually represented in the artistic tradition: a sorrowful scene of crucifixion and enlightened - ascension. And according to the gospel plot, and on the schedule of church services between the crucifixion and the resurrection, there are three days, and then between the resurrection and the ascension are still forty, during which Jesus is an apostle, talking to them. After a meeting in Jerusalem and the last instructions on the soon descent of St. Spirit (Pentecost), he is in sight of the apostles ascend to the sky:

"..." Will you witness in Jerusalem and in the whole Judea and Samaria and even to the edge of the earth. "Having said this, he rose in their eyes, and cloud took it out of the type of them" (Acts of Apostles, 1: 8-9) .

Painting S. Dali is the image of Jesus not only "to the edge of the earth", but also to the edge of time. Crucifixion, resurrection and ascension - Chronologically three different events. But in the spiritual continuum they are one: turning the greatest victim in the greatest victory. The PC was given two extreme limits: the Cross himself assisted Jesus.

In the apocalypse, the angel swars out "living in the eyelids - those who created the sky and the fact that in him, the land and what on her, the sea and the fact that in it that there will be no more!" (Revelation of John the Cologovo, 10: 5,6). This apocalyptic point of view and transferred to S. Dali. In the vertical section of the paintings are all three elements: the sky, the earth and the sea. Above them no longer time. Forty days is the human countdown, and where Jesus goes back, there is no more time. The cross, crucifix tool, turns out to be an ascendency of the ascension of the liberated and liberating Christ.

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1 Almost all icons and in classical painting - Memling, A. De Messina, Ya. Tintoretto, Belleini, A. Van Dyake ... Examples can be set with dozens.

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Tragedy of a cheerful man

Artist Konstantin Korovin

Friends of the artist Konstantin Korovina admired not only by his talent, but also by what carefree, with a light man he was. Universal favorite and soul of society, he sang, played the guitar, told the bikes. His and Konstantin, no one called him - only the fire. "Kostya, like chameleon, was having changed: he was ditched, then lazy, then charming, it was unanimous ... - Mikhail Nesterov recalled. - That is simple, then cunning, Kostya easily penetrated, so to speak, in the soul, and so often I wanted to forget about it ... there was such a mixture of good with "so-so" ... all his "qualities" was covered with his special, wondrous painting talent. " He never lost the feeling of joy of life - although the life of Konstantin Korovin was not simple, and a significant part of it can be called even tragic.

Leoni Neuman and Alexander Labas

Love on breaking epochs

In 1931, the photographer from Germany Leoni Neuman, a graduate of Bauhaus, came to the Soviet Union, and four years later I met the artist Alexander Labas and soon became his wife, remaining in the USSR forever. Both behind the shoulders had a dramatic past, and ahead - an unclear and even dangerous future. Neuman for several years actively worked in the USSR as a photographer, but still its work is known to even specialists. Her story is the classic plot "Artist and His Muse." With the resolution of the editorial board of Garage Russia "Arthyd" turns out today the pages of this story, the beginning of which had to be the most gloomy for the art of the Soviet period of times.

We are waiting for changes

Contemporary art that changes life for the better

Nowadays, art is largely social: can it positively influence not only on the habitat, but also on the life of the inhabitants themselves? In any case, this is one of the goals of many projects. We only provide some examples: So, what unites Bankhood graffiti, London architects and Chinese artists?

Good question: what is the revolutionary art of prefailelites?

About how an unusual direction of painting developed

Flowers and herbs, charming red-haired women, Shakespeare, knight and biblical plots - all such a beautiful, understandable, classic. And from a technical point of view, nothing unexpected: neither separate smears, nor distorted colors, nor black contours, no flat figures. So what is the revolutionary made preraphaelites? What is the challenge of tradition? What is the Brotherhood of Pre-Faelites call the first avant-garde movement of Europe?

The main outpatient of his time, a provocateur and a noble hooligan from art that glorified his name in the centuries ... It would seem that this person consists of solid contradictions and the tricks! He loved to walk with the world through the streets of European capitals, embraced chupa-claims, wore an incredible mustache and adored one woman all his life - Russian on origin - which was over him for 11 years.

Salvador Dali is that a rare case, when the genius is talking about all over life. He dedicated himself to art, he could have worked, only completely given to the process. "Crucifixion, or a hypercubic body" is one of the most famous pictures.

Biblical topic in the work of Dali

Salvador was given in his work more than once resorted to biblical plots. Moreover, he created a whole series of illustrations for exclusive bible circulation. For writing 105 works blessed by Pope himself.

The painting "Crucifixion, or a hypercubic body" is made in the traditional for giving a manner. Characters are spelled out with photographic accuracy. The plot of the paintings is not an attempt to illustrate the biblical legend, but rather the own interpretation in which the author, as usual, is trying to combine reality existing with others: fiction, fantastic or quite possible.

Hyperkub

The first attention of the contemplating picture attracts the cross on which Christ hangs. The fact is that it is not a cross at all, but the scan of a hypercube, otherwise called tasseract. This is not just a game of genius with form and space, but a completely clear message of the artist, symbolizing the sad truth that Jesus was crucified due to the coldness and soulless.

The image of Christ.

No less important and pose of crucified Jesus. Working on the painting "Crucifixion, or a hypercubic body", Salvador Dali was able to give the figure of Christ such a position that the viewer freezes, looking at him. There is a stress from the appearance, and the sufferings of Christ are very felt. His learned posture, discovering the chest, turned away from the viewer, everything speaks about what he feels.

Unchanged gala

The eternal muse and the love of the whole life was given - the gala is present in the painting "Crucifix, or a hypercubic body". It stands in the left corner, and Christ appears before her eyes. Gala does not take a look, but contemplates it, frozen in respectful pollone. The figure is dressed in drapery, as if we were a stranger.

Picture history

Dali wrote "Crucifixion, or a hypercubic body" in 1954. In parallel with the work on the picture he won a diary. The researchers of his work say that he rarely described the work in such a way.

The size of the picture is quite impressive: the height is 194.5 cm, and the width is 124 cm.

Currently, the picture is stored in the New York Museum "Metropolitan".