Composition on the picture Podlyasky “The sun on the veranda”
Yuri Stanislavovich Podlyaschi (1923-1987) was born in Khabarovsk. When he was 10 years old, the family moved to Vyshny Volochok. The boy showed considerable interest in drawing, began to visit the circle at the local House of Pioneers.
The propensity for creativity did not cool down as he grew older, as it often happens, but on the contrary – the young man came to Leningrad, where he first entered the art school at the Academy of Arts, and after it – to the Leningrad Institute of Painting, Sculpture and Architecture. After graduating from the institute, the young artist took an active part in exhibitions. Yuri Stanislavovich worked hard and traveled, traveled not only his native Soviet Union, but also many other countries. First of all, Podlyaski is considered to be the master of the industrial landscape.
Indeed, in his work he devoted considerable attention to the image of grandiose engineering structures – for example, “The Lights of the Collective
The veranda window is open to the garden, which means the weather is warm enough. This, as well as the foliage of the foliage in the garden and a bouquet of yellow flowers on the window allow you to infer the time of the year – late spring, summer or early autumn. Window binding is made in the form of a pattern from geometric figures. The bar at the top of the window is divided into the same small rectangles. The main part of the windows looks like large rectangles inside which is inscribed along a smaller rectangle. To these rectangles, up and down adjoins along a triangle: the lower one is pointed with the point down, the upper one “looks” with the point upward. The furnishings of the veranda are quite simple.
To the left of the open window, the edge of a bed covered with a pinkish blanket or a sofa is drawn. Near the dark brown Viennese chair, recently lacquered, which shines in the sun. On the floor is a small round mottled mat. Such rugs still crochet some needlewomen. The rug, which we see in the picture, is connected by multi-colored stripes; center – scarlet, then a broad band of intense pink, then a narrow light gray strip, and finally a dark green border.
To the right, a backrest to the windows is a summer dacha – a sofa with armrests. I saw only one armrest, on which some dark clothes are casually thrown: a jacket, a shirt or a jacket. On the windowsill, as already mentioned, yellow flowers in a vase. Vase, or, perhaps, a pitcher, of a spherical shape, brown. One handle of the vase is visible. Bamboo or reed blinds are raised – apparently, not hot, but the sun shines brightly, the entire veranda is flooded with light. It is this light, judging by the name of the picture, and attracted the attention of the artist.
To focus on the sunlight, the appropriate color scheme is selected. The walls of the veranda (to the window sills) and the window frames are golden brown. They and the green foliage of the garden contrast with the lighter front part of the picture – a light bench, a light veil on the bed and in particular a light-flooded floor on which shadows from window frames fall gray cells. The floor of the veranda in the first place and allows you to judge the sunlight penetrating the room. All the rest serves as a kind of frame for this light: first the veranda environment, light, but still darker than the radiance, flooded the room, then the walls and window frames, even darker, and finally the green garden.
In addition, a sirenovato-violet spot on the right-either a shady thicket of the garden, or maybe a cloud, maybe even a cloud. This spot intensifies the contrast with white glare of light on the floor of the veranda. Undoubtedly, the artist managed to convey the feeling of a sunny summer day, when the simplest situation, the usual garden is seen as unusually beautiful and bright. A cozy harbor, the focus of peace and quiet, is a modest veranda in streams of sunlight, and it’s hard to imagine looking at this picture, something somewhere in the world is evil.
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