Painting by Lermontov M. Yu. Graphic heritage of Lermontov

At the mention of the name of Lermontov, few immediately pop up his paintings in his head. This is due to the fact that Mikhail Yuryevich is associated primarily with poetry, since this line is most known.

In addition to the fact that Lermontov was a word artist, he was also a poet of the canvas. This means that he could masterfully convey the status of the lyrical hero not only on the sheet, but also in the paintings. His images look alive, convey emotions and experiences. We will get acquainted with Mikhail Yuryevich as an artist and display the connection between his two incarnations - a painter and a poet. And also consider how Lermontov himself is displayed in the music and painting of others.

Lermontov as an artist

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

It has not been reliably established whether Lermontov studied drawing as a child, but it is known that during his stay at the Moscow University Noble Pension he takes lessons from the famous artist A. Solonitsky. Then M. Yu. Lermontov came to the opinion, on which his teacher insisted, that everything should be natural and as close as possible to reality. This was subsequently not only Lermontov’s painting and graphics, but also poetry.

After graduation, the future classic does not give up drawing classes. In St. Petersburg, he continues to study under the guidance of Peter Zabolotsky.

Not only others, 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 developed completely differently.

The volume of artistic heritage

Lermontov’s painting came to us in a relatively small amount. But this is quite enough to make up a general opinion about this role of the poet. Heritage includes 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 this is not enough in order to achieve the skill that Mikhail Yuryevich had. Many of his works have been handed out or lost.

Literature about the Lermontov-artist is limited to a few superficial notes. A general idea of ​​his person in painting is given by B. Mosolova and N. Wrangel. But these essays have nothing to do with scientific, professional analysis, which would draw a parallel with poetic works.

It is worth noting albums with sketches and manuscripts of works, where we find Lermontov's graphics. The painting is either a commentary on the recording, or the recording itself serves to explain the image, thereby creating an inextricable link between the two types of art, 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 Yuryevich never had a special love for tyrants, and if it could be veiled in poetry, sharp cartoons and caricatures cast a shadow on the authority of the then nobility and nobility.

Pictures of Lermontov

Lermontov’s painting is extremely natural. 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, calling for transformation, has not yet gained momentum.

Secondly, the first teacher A. Solonitsky accustomed to reality in the image of Lermontov, since he only found accuracy in the exact reflection. 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 each for himself will pick up feelings and associations for himself.

Thirdly, Lermontov’s contemporaries claim 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 display, this did not prevent Lermontov from developing his style in painting.

Watercolors Lermontov

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

His watercolors, like those made in oil, are a graphic representation of what is happening in his works. So, while in the North Caucasus, he wrote more than one poem under the influence of landscapes and the 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 unequivocally say which of these works of art has turned out more successfully.

Lermontov's painting is distinguished by the purity of applying paints, without impurities. Extremely precise lines and skillful mastery of the form makes the image realistic and accurate. Although connoisseurs notice a lot of mistakes, they are leveled due to the liveliness and emotional richness of the pictures.

Caucasus in the painting of Lermontov

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 native home and serve his sentence in the Caucasus. On the other hand, painting in the works of Lermontov found a new, inspired direction.

A new motive appeared in the works - the North Caucasus and its tunes. By tunes is meant the themes and customs of the natives.

In addition to poems, Lermontov’s painting tells about the poet’s stay there. For the first time, the Caucasus appears as a romantic land. Rocks no longer inspire fear - they strike with grandeur, nature generously shares its beauties. Lermontov was the first to discover his romance in the Caucasus.

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

Oil Paintings

The painting by M. Yu. Lermontov with the images of the Caucasus is not limited to watercolors. One of the most famous paintings is The Cross Pass, written in 1837-1838.

Lermontov himself called this land “a wonderful world”, and compared people with free eagles. It is not surprising that the images of residents, of the region itself are pathetic in nature. But most of the paintings were written from memory, as it was amazing with the poet. But this does not detract from the painting of Lermontov. The paintings are extremely realistic.

“Cross Pass” is the fruit of Lermontov’s more mature work. This is proved by competent construction, compliance with the prospects both in the dimensional sphere and in the transfer of paints.

Autographed drawings

Also interesting are the poet’s drawings on manuscripts, near donation inscriptions, in albums of different families. This does not represent Lermontov’s painting in the light in which it is presented in large canvases. It is not only whipped up, but also made in one color. Such a picture conveys Lermontov’s attitude to what or whom he painted. That is, he conveyed precisely those features that were most remembered, were striking.

There are many such drawings, since they were created in the course of work on the next poetic work.

The earliest graphic sketches we know today are sketches on the Psalter. In fact, it is rather a fun fact, and not a work of art. They have neither the sharpness of the pen, nor any particular subject.

Lost drawings

Lermontov’s children's drawings turned out to be lost forever. We learn about their existence only from biographical records and letters of contemporaries.

There is also information about the drawings with wax crayons. He didn’t just draw, but made voluminous paintings from molten wax. Mention of them is found in several letters, but the search for paintings was unsuccessful.

Also lost are the drawings from the album Vereshchagina, with which Lermontov closely corresponded.

Imaginary drawings of Lermontov

One of the drawings that are attributed to Lermontov’s brushes, but do not really belong to him, is “The Head of a Warrior in a Helmet”. The main argument in favor of the false author is the handwriting, not the same as the rest of Lermontov’s painting.

The second such picture is “Storm at Sea”. If the previous work was performed with more skill than the poet had at that time, then “The Tempest”, on the contrary, was painted with an uncertain, languid hand. While Lermontov in this period already found his handwriting and painted much better.

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

In addition to these paintings, stylistic features that the painting in Lermontov’s work did not have are inherent in the following: “Tombstone with urn”, “Shooting Cossack on a horse”, “Head of a peasant”, “Caucasian look” and some others.

Poems in the painting of Lermontov or painting in poems?

It is difficult to give a definite answer on how Lermontov’s works are displayed in painting. We can say for sure that these two types of art successfully complement each other. Depending on the picture and the poem, they served as an illustration to each other - depending on what they saw before. So, the poem "Caucasus", of course, was inspired by the romantic and enchanting landscapes of the area. And then poetry was displayed in the painting.

The poem “The Caucasus” is permeated by the feelings of the lyrical hero that at the dawn of a conscious life he was forced to serve in the Caucasus, away from his homeland. But he loves this land, giving him so much pleasure from contemplating his beauties. It’s difficult to portray such experiences on canvas. But here the add-on function works.

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 lyrical hero, the author, as it were, insists on his version of the character's perception.