The rose in the glass is one of Vrubel’s best drawings made by him in the hospital. The artist claimed that the basis of all beauty is “a form that is created by nature for ever: it is the bearer of the soul that opens to you and tells you yours.” This means that I do not interpret nature, but nature explains it, explains it to me. the very nature is personalized, turns into an animated interlocutor. ” Rosa in the picture lives and tells us her story, as if talking about something very intimate, tremulous and at the same time tragic.
In the drawings of Vrubel, even the runaways, there is never a sluggish approximation: the artist’s drawing technique is sharpened like a sharp stiletto. Most often it transmits the form of a network of intermittent
Special beauty Vrubel’s drawings are given by rich gradations of dark and light, very accurately found relationships between them. So it was in the illustrations to Lermontov – a game of spots of varying degrees of light saturation created the illusion of a colorful
The artist diversified his methods of drawing. With rapid sketches of groups of people chatting, reading, playing cards, playing chess, he limited himself to comparing the big spots of dark and light and lowering the elaboration of details. Nevertheless, the groups of “players” immersed in their occupation and, probably, not even noticing that they are being drawn, are caught in all life’s ease. Five at the table play cards. Actually, they do not see the cards in their hands, but it is immediately clear that the card game is going and the players gathered in it are absorbed from the player in the foreground, even the back, even the folds on the suit, barely outlined, express the state of concentration. Very expressive is the figure of the young “fan” who climbed with his feet on the couch – he does not participate in the game, but watches it with great curiosity. Even better, perhaps, chess players. One deliberately pondering the move, his partner leaned back in the couch, his hands in his pockets, relaxed somewhat, but he did not take his eyes off the board, apparently figuring out how he would proceed. The third observes.
In Vrubel’s drawings, the background is always rhythmically coordinated with the image and is included in the image, be it a background of subject, ornamental or neutral, shaded. NA Prakhov in his memoirs says: “I remember how Mikhail Alexandrovich told me… that artists usually make the mistake of writing something or drawing from nature, they follow only the outline of the subject that does not actually exist. You should always check yourself against the outlines of the background, you need to monitor its “ornamentality” – then everything will be tightly connected. “