Cycle lectures Polala Volkova. "Who are we from the point of view of spiritual source?": Lecture of Polala Volkova
Bridge over the abyss. Comment to Antiquity
"Bridge over the abyss" - the first book of Paul Volkova, written by her on the basis of his own lecture courses. The image of the bridge, according to the Polala, Dmitrievna, was not chosen by chance - as a metaphor of the entire world culture, without which we would not take place. A brilliant teacher and a narrator, through his books, lectures, and just conversations she instilled their students and interlocutors a sense of beauty, trying to reach their souls and cleanse from accumulated serness.
One of the most iconic books for any educated person, the "bridge over the abyss" invites us on a journey through the century.
New links between remote forms that are not lying on the surface and before their eyes are traced in the book. From Stonehendja to the Globe Theater, from Crete to Spanish Corrida, from the European Mediterranean to the conceptualism of the 20th century - all this is connected with each other and can exist without each other.
Bridge over the abyss. In the space of christian culture
The domination of Christianity in the medieval world gave rise to all modern culture, in the space of which we exist from birth to the very death - this is exactly what Polana Dmitrievna Volkov says in his cycle of lectures dedicated to the late Middle Ages and Pramessentness.
It is impossible to consider this era, as conditional "dark century", as something mediocre - in itself this period is no less significant than revival.
The genius of this time is St. Francis, Assisi and Bonaventure, Jotto Di Bondon and Dante Aligiery, Andrei Rublev and Feofan Greek - still lead a dialogue with us through the century. Cardinal Jorge Mario Bergolo, becoming elected Pope Roman, takes a name in honor of St. Assisi, resurrecting Franciscan humility and offering us to go through the next bridge over the abyss eras.
Bridge over the abyss. Mystics and Humanists
No culture, no cultural stage has such a direct relationship to modernity as the era of the Renaissance.
Renaissance is the most progressive and revolutionary period in the history of mankind. The Paola Dmitrievna Volkov tells about this in the next book of the "Bridge over the abyss" cycle, taking the player at the first art historian, George Vazari, a real man of his era - writer, painter and architect.
Artists of Renaissance - Sandro Botichelli and Leonardo da Vinci, Rafael and Titian, Jerome Bosch and Peter Bruegel Sr. - Never were just artists. They were philosophers, they were charged with the main and main problems of time. Paints of Renaissance Returning to the ideals of antiquity, created a whole concept of peace with internal unity, filled traditional religious plots in terrestrial content.
Bridge over the abyss. Great masters
What appeared before - a person or mirror? By this question, Polat Dmitrievna Volkov in the fourth volume of the "Bridge over the abyss" cycle is given. For great masters, the portrait has always been not just an image of a person, but also a mirror reflecting not only external, but also inner beauty. Self-portrait - a question of yourself, reflection and the next answer for them. Diego Velasquez, Rembrandt, El Greco, Albrecht Durer and - All of them leave us in this genre a bitter confession of a whole life.
Which mirrors were the beauties of the past? Venus, ascended from the Waters, saw their reflection in them and was satisfied with himself, and Narcissa was frozen forever, shocked by his own beauty. The canvas, reflecting during the Renaissance, only the perfect image, and later - and the personality of man, became eternal mirrors for anyone who dare to look into them - as in the abyss - truly.
This publication is a recycled "Bridge over the abyss" cycle in the form in which he was conceived by the Polat of Dmitrievna - in historically-chronological order. It will also include unnecessary lectures from the personal archive.
Bridge over the abyss. Impressionists and XX century
The history of impressionism, once and forever influenced all subsequent art, covers only 12 years: from the first exhibition in 1874, where the famous "impression" was presented, according to the last, eighth, in 1886. Eduard Mana and Claude Monet, Edgar Dega and Auguste Renoir, Henri de Toulouse-Lesrere and Paul Gaen - with the story of which this book begins - one of the first began to oppose the conventions of the "classic" painting.
The history of this family, which was told by the author of the famous Cycle "Bridge over the abyss" Paola Volkov in this book, is a sample of the life of real Russian intellectuals, "direct gerbird of their family honor, direct dictionary of their root links."
From Jotto to Titian. Titans Renaissance
The era of the Renaissance is the most progressive and revolutionary period in the history of mankind. Artists of Renaissance - Sandro Botticelli and Leonardo da Vinci, Rafael and Titian, Jerome Bosch and Peter Bruegel Elder - were never just artists.
They were philosophers, they were charged with the main and main problems of time. Returning to the ideals of antiquity, they created a whole concept of peace with internal unity, filled traditional religious plots in terrestrial content.
In this illustrated edition, Polala lectures are given by Dmitrievna Volkovka, the author of the famous "Bridge over the abyss" cycle, devoted to the true titans of the Renaissance, are recycled and supplemented for the convenience of the reader.
Who are we in terms of spiritual source? How was our artistic consciousness, our mentality and where can I find her roots? Art historian, filmmaker, author and leading of the documentary series about the history of world culture "Bridge over the abyss" Paola Dmitrievna Volkov is convinced that we are still all the heirs of the unique Mediterranean civilization - civilization created by the ancient Greeks.
"Wherever Chies, but its antigone in each theater is everywhere goes."
But what is its feature and uniqueness? And how are the ancient Greece, which is in a state of constant civil engineering, which does not have a single land space and a single political system, managed to create a culture, which still serves the whole world? According to Paola Volkova, the secret of Greek genius is that more than two and a half thousand years ago they managed to create four artificial regulators who identified the appearance of the world for a long century. This is the Olympics, gymnasiums, art unions and feasts as important components of the life of every citizen - ritual dialogues about the main thing. Thus, the Greeks are the creators of forms and ideas - so strong and beautiful that our civilization still continues to move according to the specified Ellity vectors. Here it is, the modest role of ancient culture in the formation of the appearance of the modern world.
How did these four regulators worked and what's special in them? You can learn about it from a two-hour lecture read in the center of Skolkovo and opening a whole cycle conversations about art , in which Paola Volkov told about our spiritual roots in a sophisticated culture, about how in ancient Greece consciousness determined being, which was in general Homer with Vysotsky, as the Olympics united Greece and became a cementing system for the formation of a Great Mediterranean culture and as " Alexander Filippovich Macedonsky "destroyed everything. Right in the middle of the lectures of Paola Dmitrievna feels the wrath of the gods, and at the end of his story she concludes that the Greeks are the Cheshire Cat, who managed to create a smile of the world:
"Greeks created ideas. They are generally Cheshire Cat. Do you know what is Cheshire cat? This is when there is a smile, but there is no cat. They have created a smile, because architectures are very little genuine, the sculptures are very little genuine, very small manuscripts, and Greece is, all serves all. They are Cheshire Cat. They created a smile of the world. "
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Lectures on the art of Professor Paul Volkova
Book 1.
Paola Dmitrievna Volkova
© Paola Dmitrievna Volkova, 2017
ISBN 978-5-4485-5250-2
Created in the Intellectual Publishing System Ridero
Preface
You keep in your hands the first book in which the unique lectures of the professor of art history of the Wolve Paul Dmitrievna, read by her at the highest courses of directors and screenwriters in the period 2011-2012.
Volkova Paola Dmitrievna
Those who were lucky enough to visit the lectures of this amazing woman will never forget them.
Paola Dmitrievna - a student of great people, among whom were Lev Gumilev and Merab Markdashvili. She not only taught in Vgik and at the highest courses of directors and screenwriters, but also was the world's largest specialist in the work of Tarkovsky. Paola Volkova not only read lectures, but also writing scenarios, articles, books, conducted exhibitions, reviewed, led television programs in art.
This extraordinary woman was not just a brilliant teacher, but also a magnificent narrator. Through his books, lectures, and just conversations, she instilled her students and listeners a sense of beauty.
Paul Dmitrievna compared with the Alexandria library, and her lectures became revelation not only for ordinary alone, but also for professionals.
In the works of art, she knew how to see what was usually hidden from a prying look, knew that the most secret language of the symbols and could explain the most simple words that he had a masterpiece in himself. She was a stalker, conductor translator between epochs.
Professor Volkova was not just a positive knowledge, she was a mystical woman - a woman without age. Her stories about ancient Greece, Crete culture, China's philosophy, great masters, their creations and fate, were so realistic and filled with the smallest details and details that they involuntarily came out to the idea that she herself didn't just live in those days, but also personally knew Everyone, about whom the narration was led.
And now, after her care, you have a great opportunity to plunge into that world of art, which you may have not even suspected, and, like, a wandering traveler, experiencing thirst, drink from the purest well.
Lecture number 1. Florentine School - Titian - Pyatigorsky - Bayron - Shakespeare
Volkov:I look at the ranks of the cut ...
Students: Nothing, but take quality.
Volkov: I am what. It's not for me. You need it.
Students: We will tell them everything.
Volkov: So. We have a very important topic that we started last time. If you remember, we were talking about Titian. Listen, I'm what I want to ask: Do you remember the fact that Rafael was a student of the Florentine school?
Students: Yes!
Volkov: He was a genius and his genius very curiously affected. I have not seen a more perfect artist. He is absolute! When you look at his things, you begin to understand their purity, plasticity and chromaticity. Absolute Merge Plato with Aristotle. In his paintings, there is exactly the Aristotelian start, Aristotelian intellectualism and Aristotelian conceptuality, walking alongside the high Platonov beginning, with such a perfection of harmony. It is not by chance in the "Athenian school", under the arch, he wrote Plato and Aristotle, walking alongside, because in these people there is no inner gap.
Athenian school
The Florentine School takes its beginning to the Jott Dramaturgia, where the search for a certain space and the installation on philosophizing is being found. I would even say poetic philosophizing. But Venetian is a completely different school. Regarding this school, I took this thing this thing Jorgone "Madonna Castelfranko", where Holy George looks more like the Volterovskaya Zhanna D`ark.
Take a look at her. Florentine could not write Madonna. Look, she is occupied by itself. Such spiritual isolation. In this picture there are moments that have never been before. This is a reflection. Things that are associated with reflexia. The artist attaches internal movement of some difficult moments, but not a psychological direction.
Madonna Castelfranko
If you summarize what we know about Venetians and Titian, then we can say that in the world who captures Venice with her special life, with its complex social productivity and historical bruss, then you can see and feel the internal charge of the system, which Ready is about to discharge. Look at this Tizian portrait that hangs in the Gallery Pitti Palace.
Portrait of an unknown with gray eyes
But for starters, in our intimate company, I must admit that once was in love with this comrade in the picture. In fact, I was twice in love with the paintings. The first time I fell in love as a schoolgirl. We had a pre-war Hermitage album at home and a portrait of a young man in a mantle, written by Van Diek, appeared at home. He wrote the young Lord Philippe Warren, who was as many years old and me. And I was so fascinated by my peers, which, of course, immediately called a wonderful friendship about our with him. And you know, he removed me from the boys in the yard - they were vulgar, fucking, and here such high relationships.
But, unfortunately, I grew up, and he is not. It was the only reason we broke up (laugh). And the second my love happened when I was a 2nd year student. I fell in love with the portrait of an unknown with gray eyes. We were not indifferent to each other for a long time. Hope you approve of my choice?
Students: Of course!
Volkov: In this case, we will turn to the area that is very interesting for our relationship with art or works of art. Remember what we finished the past occupation? I said that the scenic picture of the picture is becoming sickness. She alone already has the painting content. And Titian has always been inherent in this absolutely picturesque self-relief. He was a genius! What will happen to his paintings, if you remove the pictorial layer and leave only submarike? Nothing. His picture will remain a picture. She will still remain a picturesque work. From the inside At the intracellular level, based, then what makes the painter in a brilliant artist. And externally, it will turn into the picture of Kondinsky.
Compare Titian with someone else is very difficult. He is progressive. See how it is through the shadow that falls on the wall of the silver tone, the picturesquely connects this portrait with the space in which this person lives. You can not even imagine how difficult it is to write. Such an amazing combination of light, silver-vibrating space, this fur coat, which is hoping for him, some lace, reddish hair and very bright eyes. Serious blue atmosphere vibration.
He has one picture that hangs ... I do not remember where, or in London, or in Louvre. No, not exactly in the Louvre, in the National Gallery of London. So, a woman sits on this picture with a baby in her hands. And when you look at her, then it seems to you that this picture fell here by chance, because it is simply impossible to imagine that this work of Titian is simply impossible. It is written in a manner resembling something mean between Claude Monet and Pissarro - in the technique of Pointelism, which creates this most jitter of the entire picture of the picture. You approach closer and do not believe your eyes. There is no longer visible to the heels, no face of a baby, but only one is seen - he survived Rembrandt in freedom. Not by chance, Vasily Kondinsky said: "There are only two artists in world art, which I can call abstract painters. Not free - they are subject to, and abstract. This is Titian and Rembrandt. " And why? Because if all the painting has behaved before them, the painting of the subject, Titian turned on the color of the color, the moment of painting, as a flavor, independent of the subject. As, for example, "St. Sebastian "in the Hermitage. When you come to it very close, then besides the picturesque chaos, nothing can be seen.
There is painting you, standing in front of the canvas, can watch infinitely. It is very difficult to convey words, because there is a completely arbitrary impressionistic reading, reading characters or personalities, which he writes. And without a difference for whom you are looking at: I dellad Francesco on Piero or on the Umbrest Duke Federico and Montefeltro.
Saint Sebastian
Here are just the visibility of reading. There is something consistent here, because it is not possible to definitely give the complete characteristic of a person, due to the fact that there is energy and the fact that each of us is exposed or hides in themselves. This is all complex text. When Titian writes a male portrait, he highlights face, gesture, hands. The rest, as if hidden. On this dramaturgy is built and everything else.
But, let's go back to the portrait of an unknown man with gray eyes. In fact, this is a Rimaldi Hippolito. See how he holds a glove. Like a dagger. You are not encountered with a character, but with a very difficult person. Titian is very attentive to his contemporaries. He understands them and when it creates their images, it makes it talk to us on a special Tizian language. He creates an extraordinary historical world in painting and portrait Rimaldi is something incredible. After all, the power and impassive relevance of this historical canvase can be compared just with Shakespeare.
And look at the portrait of Paul III and the two of his nephews. I saw this picture in the script. This is an incredible spectacle! It seems to be written by blood, only in different colors. It is also called red and it distorts the color decision that Titian asked the picture. For the first time, color from the definition of the form: a cup, flower, hand, becomes the content of the form.
Pavel III with nephews
Students: Paola Dmitrievna, and what, the canvas himself?
Volkov: Now I will tell. There is a very big distortion. Do you see that red is dominant? But you will not even see what colors legs and curtain. You simply do not perceive this color, because in the "trotter with blood" added thickness. Bloody eyelid, bloody business.
Students: Bloody hearts.
Volkov: Bloody hearts. And cruel hearts. Generally bloody communication times. Take the same curtain. It seems that it was impregnated with blood of people, animals, someone else, and then raw and hanged. When you watch the original, then believe me, it becomes scary. Mentally hard. Pope shadow on the skirt. See? Come on and the feeling that this material was enough bloody hands. There are all the shades of red. And what a weak and elder-rotten looks Pelterine ... there is such impotence in it. Blood-impressed background ...
Students: And who is standing next to dad?
Volkov:Answer in the title (laugh).Nephews. The one is behind the back of the Pope - Cardinal Arseny, and the one who is right - is the Hippolyte. You know, very often the Cardinals called the nephews of their own children. They cared for them, helped to make a career.
Look, what a Cardinal Arseny on the head of a hat, what a pale face. And this type of right? It is something! He has a red face, and the legs are purple! And dad sits like in a mousetrap - he has nowhere to go. Behind the back of Arseny, and on the side of the right real Shakespearean Yago, as if sneaking into the silent steps. And dad is afraid of him. See how he headed his head in the shoulders. Titian wrote a terrible picture. What kind of dramaturgy! This scenic dramaturgy and he acts here not as playwright Titian, but as a narrator like Shakespeare. Because it is the same level and the same heat, and understands the story not as a story of the facts, but as a history of actions and affairs. And the story is to work on violence and blood. History is not family relationships and, of course, this is a dominant Shakespeare.
Students: Can i ask you? And the dad ordered exactly such a picture? Bloody?
Volkov: Yes, imagine. And he wrote to Pope even more terrible. In Toledo, in the Cathedral, there is a huge gallery and it stores such a terrible portrait of Pope. It is generally just some horror horror. Sits "King Koschey over the Chilt Channet."
He has such thumbs thin, dry hands, clamped head, without a hat. This is something scary. And I imagine time, the picture is accepted and a wonderful event occurs. This Ippolit Topit in Tiber of Bratin-Cardinal, who he himself, whose Titian wrote with the face pale, like a Velight. He killed him and threw in Tiber. Why? And because he stood on his way to Cardinal promotion. After that, after some time, Ippolit itself becomes cardinal. And then he wanted to become a dad and he suffers a silk story to Paul III. Titian Providence was simply awesome.
In general, all showing it is impossible and portraits of him are different, but the older Titian becomes, the more amazing they are made on painting. Let's see the portrait of Charles V, which hangs in Munich.
It is said that when Titian wrote him, Carl filed his brushes and water. This is a huge and vertical portrait. Carl sits in a chair, all in black, such a volitional face, heavy jaw, clamped head. But there is some oddity: fragility in pose and, in general, it is some kind of flat, disappearing. In the form drawn, it seems solemnly, but essentially very disturbing and very painful. This gray landscape: blurred road road, dreamed trees, left a small lion, or a hut. The amazing landscape visible in the opening of the columns. An unexpected contrast between the solemnity of the portrait and very strange, the nervic state of Charles, who does not match his position at all. And this also turned out to be a prophetic moment. What's wrong here?
Mostly everything is written in one color, there is a red carpet or carpet - a combination of red with black. Tapestry, column, and there is not clear: the window is not a window, the gallery is not a gallery and this blurred landscape. Hut stands and all gray, dull, as in the late canvas of Levitan. Straight Russia. The same dirt, autumn, imperceptibility, non-disgrace, oddity. But Karl V always said that the sun never enters his country. He has Spain, in Parman Flanders, he is the emperor of the entire Western Roman Empire. All! Plus the colonies that worked and drove the goods by steams. Huge pirate movement. And such gray paints in the portrait. How did he feel in this world? And what do you think? One day, Carl makes a will, in which divides his empire into two parts. One part in which Spain includes, Colony and Flanders, he leaves his son - Philip II, and the West European part of the Empire, he leaves his uncle to Maximilian. No one ever received. He was the first and only one who unexpectedly renounced the throne. Why does he behave like that? So that after his death there was no cross-pass. He was afraid of the war between Uncle and Son, because he knew very well and the other. What's next? And then he satisfies his own funeral and, standing by the window, looks like he buried. Following that the funeral was held at the highest category, he immediately goes to the monastery and takes the victim. There he lives for some time and works.
Students: Did Dad gave his consent to this?
Volkov:And he did not ask him. He died for everyone. That even to push did not dare.
Students:And what did he do in the monastery?
Volkov:Growing flowers, engaged in a garden. Gardener became. We will return to him again when we talk about the Netherlands. It is not clear whether the landscape of Titian has so worked for him, or Titian, being a brilliant person, saw in the window what no one had seen, even Karl himself. The window is always a window to the future. I do not know.
Titian's work must be seen. Reproduction is very different from the original, because the latter is the most sophisticated and complex painting, which can only be in the world. From the point of view of art or the load, which can take on the art or the information that the painter can give us. He, like Velaskis, is an artist number one. A person in the full alphabet of his time describes this time. And how else can a person living inside the time, describe it from the outside? He is safe, he is cluster, he is the first man of Venice, equal to Pope, equal to Carlo and people who lived next to him knew it because he gave them immortality with his brushes. Well, who needs Karl to speak about him every day?! So they say, because he served as an artist. How many excursions will lead, so much talk about him. As Bulgakov wrote in the "Master and Margarita": "You will remember and remember me too." And who is otherwise needed by Pondi Pilate? And so, in the final they go alongside the lunar path. Therefore, Akhmatova said: "The poet is always right." It belongs to this phrase.
And the artist is always right. And in those distant times, Medici understood who Michelangelo. And Julius the second understood it. And Karl understood who Titian. The writer needs a reader, the theater needs a spectator, and the artist needs a character and evaluation. Only then everything turns out. And you can write Karl V that is exactly, and not otherwise. Or Pope Paul III and he will accept it. And if there is no reader and the viewer, if there are only glazing, in front of which Brezhnev sits, it will not be anyhow. As the Brehtov Hero said, who trained Arthur acting: "I can make you any bismarck! Only you tell me what bismarck you need. " And they always want this, and Syak. It can be seen that idiots. And you ask if he accepted. But because he accepted. Scale defined as the era. There is no Titian in emptiness. There is no Shakespeare in emptiness. Everything should be at the level. There must be an individual environment. Historical time charged with some specific levels of characters and manifestations. History and creation. They themselves were creators. And although there is a mass of components here, but at the same time never no one can write like Titian. Just by understanding the shape and speech, in this case, Titian, for the first time, is not a design for the first time, like Rafael, and the color becomes a psychological and dramaturgical form. That's what an interesting thing. That is, painting becomes content.
Take the same "equestrian portrait" of Karl V in Prado, which is very interested in hanged. When you are standing in front of the staircase leading to the second floor, it hangs right in front of you. What words can this shock describe? The image is incredible! But I know this picture perfectly. A person who is inside the story. Two points are cross in it: from the inside and outside. Titian-contemporary, living at the time, described its enormous intuition of this commander, as the rider of death. And nothing more. The great commander, the great king, a black horse, again this red color, the scarlet color of the bloody history: on a spear, on the face, on the lats, on these painted ostrich feathers that are in the way. Sunset, ashes and blood. Not sunrise, but sunset. He writes against the background of the ash red sunset. All the sky is ash and blood. Here you are standing in front of the picture and understand that you are not only a portrait of a person, but some global understanding, to which Picasso rises only in the twentieth century. And, of course, there is a lot with him in painting, including Georgeon. This is a whole direction in art, a whole genre, a new - genre of a naked body, in which a lot of things are combined. And I repeat that you still can never see and understand everything completely ... This is what? What is this young lady?
"Equestrian portrait" Karl V
Students: It's man! Olympia!
Volkov: Well, of course. Of course. What do you say about it? Does this attitude towards Titian?
Olympia Eduard Mana is the beginning of European painting. Not visual art, but painting. On her, he portrayed a feminist - a real, new woman of that time that could nude posing in front of the artist - Duchess Isabelle Test. It was a time when the curtains ruled the world. And she - the Duchess Urbinskaya, as if he tells us: "I am not only a very modern woman, but it is a great honor for me to be a curtain."
Olympia - Mane
The curtains of that time were women not dirty offended. Not! They were heterlers: smart, educated, able to present themselves to presenting the impulse to society. Higher impulse! They had their own clubs or salons where they took their guests.
Quiz Meran was a famous curtain and beloved mana.
He often wrote this relative woman, and in the parallel she was wonderful novels of Zola, Balzak, Georges Sand and what they described were not just a temper, not just a story in the literature, but high, very sensitive time tools. Go back to go ahead! Mana said absolutely poster: "I go there to get out there. I go back to throw away the art forward! " Mana moves behind Titian. Why is he going for him? Because this is the point from which trains are sent. He returns to this point to go ahead. As wonderful Khlebnikov said: "In order to go ahead to the rover, we must rise in the mouth." That is, to the source where the river flows from.
Quiz Meran.
I think you are all clear.
Titian's secrets did not know anyone. That is, they knew what he wrote, but could not understand what's the matter there. And his shadows are a real mystery. Canvas primed by a certain color, which is already shifted. And this is an extraordinary magic. With age, Titian wrote everything better and better. When I first saw "St. Sebastian ", I must say honestly, I could not understand how it was written and still no one understood.
When you stand from the picture at a certain distance, you understand what is drawn, but when you approach close, then nothing can be seen - there is a solid mess. Just a picturesque messenger. He messed the paint with his hand, the traces of his fingers are visible on it. And this Sebastian is very different from everything that was written earlier. Here the world will plunge into chaos and paint, which he writes, one color.
You see abstract painting, because the color of painting does not stand out. She is in itself and there is a content. This is an amazing cry and this is a scream of emptiness, but do not think that all this is by chance. The second half of the 16th century, the end of the 16th century - it was a special time. On the one hand, it was the greatest point of the development of humanism of art and European genius and science, because there were Galilee and Bruno. You can not even imagine who Jordan Bruno was! And he was the first one who was engaged in Greenland and her research, who spoke to what the science is just right now. He was very daring. On the other hand, Puritanism, the Inquisition, the Order of the Isuites - it all already worked inside the intense and complex creative state. The international community crystallizes. And I would say: the community of left intellectuals. How interesting, they were almost all in the reformation coup. Can you imagine? They were all against Martin Luther. Shakespeare was definitely a Catholic and a supporter of the Stewart Party. It is no doubt. Not even to British, namely, a supporter of the party of Stuarts and the Catholic.
Durer, who took place from the first Protestant and absolutely phyatrician city of Nuremberg, was the most tary opponent Martin Luther, and when he died, then Willie Byte Prince Gamer (?), What corresponded to his very large geometer by the packer, wrote: "Martin Luther killed His own wife. He did not die his own death - they are guilty of his death. "
The same and Michelangelo. You do not think that they lived, nothing knows about each other. They were part of a very interesting community, headed by Jan Van Aachen, and which we know how Jerome Bosch. And he was the head of this circle of people who called themselves adamites and were apocalyptics. They did not advertise themselves and we learned about them relatively recently, but Bulgakov knew about them. When I read Bosch, and he except the "apocalypse" and the "Strong Court" did not write anything else, then I read you Bulgakov. He has a lot of Bosch quotes. And it was on the Adamite theory that "Dog's Heart" is written and I will literally prove it. The painting of art and life is sufficiently complex.
Do you know that at the end of the life of Michelangelo in the same sextian chapel, where he painted the ceiling, wrote on the wall "Terrible Court"? And they all began to write a "terrible court." Began to write the tragic final, apocalypse. Not "worship of the Magi", and the apocalypse. They realized him. They put the date when he began. It was a certain group of people. But what the names are! Durer, Leonardo - all. The center of this community was in the Netherlands. They wrote messages dads. We live in ignorance and do not know what was done in the world, because the story we read is written or ignorant, or ideologically. When I got access to the real literature, it was amazed to what extent, on the one hand, in our presentation the story of the linear, and on the other, it is flattened. And she is not so. Any point of the history of spheric and the 16th century is a crystal with a huge number of faces. There are a lot of trends. And for this, special group of people, the terrible court has already come.
Why did they think so? They argued it not just like that. These people were cohesive and knew about each other's moods. In the book Vazaria about the life of Italian artists there is only one artist, not Italian is a durer who constantly lived in Italy. Sometimes at home, but mostly in Italy, where he was good. He traveled home, where he left the way diaries, notes, and so on, but he was deeply connected with society. According to time, they lived apart with a small gap, but in order of ideas, lifestyle, very bitter observation and disappointment, which passed through them, they are perceived by straight contemporaries.
I want to say that Titian's time as well as the time of Shakespeare is the time of very strong characters and large forms. It was necessary to be Titian or Shakespeare, so that all these forms reveal, express and leave us.
Here is another work of Titian, which hangs in the Louvre - "Three Ages". Who did a straight copy from her? Salvador Dali. Titian is worried about time, and he shows it. Here is a young man, and behind him his end.
Three age
Students: And why are they drawn right to left?
Volkov:What does it mean to right?
Students: Well, it seems to be accepted in Europe ...
Volkov: Oh, what are our specialists (laugh)!
Students: That's why I ask.
Three age Dali
Volkov: And I am not a specialist. Because he wrote so much. From the moment of sunrise to sunset. In the east, the sun rises, and in the West comes. So, quite a surreal picture. What is interesting in it. Werethery! Zoomorphic revolation, which is very strong at Goya. But we do not live in the 19th century. But where did it get from Titian? He feels people and writes rebound. Therefore, when he writes Aretino, he looks like a wolf, and Paul III on the old, shabby sloth. He draws people as if it is an unfinished creature with predatory, hunting, merciless, immoral instincts. How do you think he sees this adorable young man?
Students:Dog! Wolf! Bear!
Volkov: Predator! Fangs, mustache. You do not see that he is so charming and his face is bright. It is deceptive. Young, strong predator with fangs and thirst for the struggle between predators! His flourishing is a lion who has achieved apogee. Old wolf, of course, unheard of thing. Not three hipostasis Father, Son and Holy Spirit, as in man. He decrypts on different faces, shows us predatory beginnings. No wonder Dali made a copy. He, like Freud, dives into a chtonic beginning. And since in the depths of Chtoniki sits a predatory beast, nothing can be done. Neither enlightenment, no noble words, nor the indicative actions do nothing. Power, the desire of power, insatiability, repetition of the same without conclusions, without lessons! And when this, this is the amazing story of the church split or persecution on heretics in the Middle Ages, then people have not burned down on fires. They began to burn in the 16th century. Bruno was burned at the turn of 16 and 17th centuries. In 1600. People burned in the 17th century. But not in the 12th. The epidemics were, but not burned. Burned inquisition. She was created to burn. Shakespeare, Titian, Bosch, Durer abandoned the counter-process, considering it evil and the beginning of the path in the apocalypse. They were terribly frightened by the Luther's Bible - that now everyone comes and whatever you want. One of the last works of Dürer "Four Apostles", which hangs in Munich near Karl V.
Four apostles
And behind all these apostles, he wrote their sayings, and presented this picture to the city of Nuremberg: "My citizens, my compatriots. Fear falseproorok! " It did not mean that they were primitive in their religion. They were people of the new time. And Titian knew that an angel was not living inside a person, and that love could not become an angelic transformation. He knew that a chtonic merciless dream was living inside, a predetermining circle and his final.
You know, I love my profession very much and this is not a secret for you. I now think not at all as the same 20 years ago, because I began to look out otherwise. The most important thing is the influx of information. When I look at the pictures, I don't just get pleasure from them - I make a deep-water immersion every time, which can lead to the caisson disease, but this condition conveys a certain picture of the world, the content of which is only to understand and evaluate. Remember how the ancient Greeks evaluated their contemporaries? With the help of the competition. Everyone who did not occupy the first place was divided into dust, because the right to existence has only one option - the best. True. Around us a huge number of very bad artists. It may not be so dramatic for the culture, if there is a scale, but when the plank disappears at the level of Titian, Bosch, Durera, Shakespeare, or she is meager, or distorted, then the end of the world comes. I also became an apocalyptic, no worse than Bosch. I do not live in a state of opinion, but I am very surprised at how they even knew everything. They knew about the nature of the apocalypse and what he comes. And in the messages dads everyone listed. And in the pictures showed.
Well, not tired? I am terribly afraid that I may not have enough 4 hours, and they are not enough, so I want Shakespeare theater to start reading you right now. I took with you all pictures on which you will see his contemporaries. You know, there are artists who are very difficult to read. That Titian is difficult to read. It does not fit in order words. He does not fit anyone. I am not in my justification, but because, indeed, there are such artists or writers who speak or write easily, and there are such that it is easier to climb into the loop. Because there is some kind of mysterious thing - you get a huge sea of \u200b\u200binformation, but you can't say anything. I really like one statement: "No most beautiful woman in the world can give more than she has." Also, here when you are dealing with a brilliant person and, plunging into it more and more, in the end, understand that everything! - The moment of caisson disease occurred, and the information zero. And this Rembrandt or Titian, whose information goes through color playwright. Color code running through the composition.
Attention! This is an introductory fragment of the book.
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We viewed a lot of lectures and courses on the history of art from all over the world. Better Paul Volkova is nothing. She is not only a specialist of huge erudition and competence, but, which is important, she is sincerely loves art and does not fit purely formally.
Paola Volkova conversations about art
In the spring and summer of 2012 in the open University Skolkovo Paola. Dmitrievna Volkov read the lectures cycle under the general name " Conversations about art" Peace art Greece and Rome suddenly acquire integrity and clarity - add up to one whole pebbles of a complex mosaic of knowledge about antiquity. Great philosophers, playwrights and sculptors of Greece are becoming very close, only a hand of a long time ... Familiar and slightly forgotten images - Olympics, Efaby, architecture, vasopisa, sculptures, feasts - suddenly come to life and begin to speak by the Language of Eschila. And the whole world of Eldlands as on the palm.
Cycle gear "Bridge over the abyss"
The cycle of television programs "Bridge over the abyss" - the author's project of Paul Volkov, dedicated to the masterpieces of fine art. "The idea of \u200b\u200bsuch a telephone emerged unexpectedly," said Paola Dmitrievna. - I prepared a multi-volume scientific work on the history of European art. The book is exactly the same name - "Bridge over the abyss". Lectures were based on the basis that I read for many years to my students at the highest courses of screamers and directories. But it happened that one of my students, Andrei Zaitseva, had a thought to turn this course of lectures to the television program, to release conversations to the ether. The name and for the book, and for the program it was not chosen for the program, because the image of the bridge is the image of a global culture, without which we would not take place. The cycle received an award of the Telepress club on the results of the television season 2012/2013 "For a capacious representation of the history of world painting as a multifaceted megasiness."
About Paul Volkov
Paola Volkova, she is Ola Odessa, was an extraordinary creation.
With this agree without exception, everyone who has met with her at least once.
She made myth from her life,
Bring most secrets and secrets with them, giving us to solve us
What happened to her in reality,
And what was only the fruit of her irrepressible fantasy.
Portrait of a paole of a wolver. Artist Vladimir Weisberg
At her lectures in VGIK on the history of art, it was impossible to break through, and students caught every word Paul Dmitrievna. Director Vadim Yusupovich Abdrashitov so spoke about these classes: "She told about what art and culture for a person's life, which is not just a central article of some budget consumption. It seems to be life itself. " Kinoved Kirill Emilevich Raslov said: "Paola Dmitrievna was a human legend. The legend in Vgika, where she taught, the legend of the restructuring, when she came out on a wide scope of our culture, the legend, when she fought for the memory of Tarkovsky, with whom she was closely familiar, the delicious fights were flared up around the heritage. Photographer, journalist and writer Yuri Mikhailovich growth I am confident that this is "a woman is completely outstanding, a person who gave cultural life to a huge number of cinematographers, a man of encyclopedic knowledge, charm ..." Director Alexander Naumovich Mitta assures: "When she talked about art, it is like As if turned into some kind of diamond. She loved everything you know. In each case there is someone better than others. General of this business. Here it was general in his business. " Paola Volkova knew all the great artists, actors, directors - all the creators of this or that era, as if she lived at this time, and herself was their muse. And she believed that everything was so.
