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The composition of the film Vrubel “Campanula”
Painfully lonely artist, stretching to the beyond, finds the joy of creativity, when in S. Mamontov’s Abramtsev through friends and comrades comes in contact with the work of folk artists. This turn of Vrubel reinforces his friendship with A. Rimsky-Korsakov. “The national note,” he writes to his sister, “is so desirable to catch on canvas and in ornaments.” Shortly thereafter, after traveling abroad, he confesses: “How much beauty we have in Russia!” and in Torcello – “Torcello. native as is Byzantium. “
This hobby also makes itself felt in his work. We need to compare the earlier picture of Vrubel’s colors, with his Chistyakov’s clear and sober construction of form and space, with the later “Wisteria” almost turned into rhythmic ornamentation – then we will see the long path traversed by the artist (According to A. Blok, Vrubel went from the “blue-lilac world night” to “the
“Vrubel was amazingly drawing an ornament, never borrowing anywhere, always his own,” wrote K. Korovin, “when he took the paper, then, measuring the size, holding a pencil, or a pen or brush in one hand sideways, in different places of paper put on solid features, constantly connecting in different places, then the whole picture loomed “. In the natural world, the closest analogy to the described process of the appearance of an image from initially disjointed lines and strokes, forming a bizarre ornamental ligature, in which suddenly appearances of familiar objects, are the crystallization of hoar frost on the frost glass.
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