100 years since the birth of Sergei Yesenin.

100 years since the birth of Sergei Yesenin.

When there was no trace of his «chosen» a different format, its three-, five- and even six-volume wide scientific commentary, his poems were copied by hand in notebooks cherished, were learned, passed on from generation to generation, sung to a guitar and accordion sometimes clumsy, but very sincere admirers loved Russian talent. And heard on the bench in the villages, «Maple Oh my dear …» And came the shrill of the city parks: «I have never been on the Bosphorus …» And in a war, many remember when wet and cold trenches rolled up to the heart blind desperation, some young lieutenant encouraged the tired fighters:

A month would swim and swim,

Dropping a paddle on the lakes …

And Russia will still live,

Dance and cry at the fence.

Many know by heart not only poetry, but also poems Yesenin. There were enthusiasts, collecting house museum, which willingly and gratefully accept everything related to the life and work of the poet — from bohemian cylinder Yesenin times to the yellowed newspaper clippings about the «alien and harmful poet of the revolution.» • His poems enthusiastically could read illiterate villager. And some celestial exact science childish pritsokival tongue over his critical judgments about Blok and Klyuev, White, Russian classics. A Supervisory language student inspired matched in the normal course work: Caucasus Pushkin and Yesenin, the image of Pugachev in their work, freedom-loving lyrics shared genre — stanzas, the prophetic verses, mash the motives of Pushkin and excise couplets Esenina, referring to the nurse first, and the conversation with her mother the second («Let’s drink, the nurse, where is the circle …» «Are you still alive, my old lady …»). In general, the student hostel of the early postwar decades, was such a game: who will deliver the latest some very vivid metaphor Esenin. And boil the tournament:

— Yellow reins month dropped …

— Eye — faded as the mug …

— Autumn — red mare — the mane cards … ..

— How cornflowers in the rye, blooming in the person’s eyes …

— At the heart — lemon light of sunset …

— The chilled black puddle lamp …

— Your hair glass smoke …

— On the suspension of light oil lamps swayed gold heaven …

— Klenenochek small uterus Green udder sucks …

— I was sentenced to prison feelings turn the millstone of poems …

«Servitude feelings» Yesenin turned for readers opening a new poetic happiness of the planet and for him — the untimely death. Until recently, we were confident that Yesenin in a drunken stupor committed suicide, unable to bear the gap with reality: «I am not a new one! Something to hide? Stayed in the past I have one foot … «Now write convincingly that a poet of violence committed anti-Russian Chekists with okololiteraturnye officials. The timing was terrible. Outside Russia was better than her sons, her genius — Chaliapin, Bunin, Korovin. Hunger and misery unit. He died in obscurity Chairman globe Khlebnikov. Shot Gumilyov. Were killed in the camp and Klyuev Pavel Vasilyev. Still, there was no time generous and rich in talent, variety and bright. No wonder: Silver Age!

«My God, to think the same table sat Block, White, Akhmatova, Mandelstam, Mayakovsky, Balmont, Yesenin, Pasternak! What was a feast! «- Admired Marina Tsvetaeva.

Now many clear that Yesenin was a major figure in this feast, the most important precious and rare poetic phenomenon of time. Rightly exclaimed the poet of the XIX century in the name of contemporary patriots: «Pushkin — is everything!» At the end of XX century, we can add: Yesenin — it’s part of us. The best and irreplaceable!

The number in honor of the anniversary of the poet introduces the well-known and unfamiliar statements about him his contemporaries (we have limited the extensive range of names of poets and painters), works of art dedicated to the image of Sergei Yesenin, so its terms, based on the lyrics. Artists Yesenin theme is ten times more. This, in particular, said a large Russian exhibition in memory of the national genius.

On the 100th anniversary of his birth, in addition to exhibitions, conferences, Poetry Day in many cities and schools are scheduled and other solemn actions: exit the seven-volume collected works of academic publishing «Science» deluxe edition «Museum SAEsenin in the book» , the original biography of the poet’s «God’s pipe» Stanislaus and Sergei Kunyaevyh series’ Lives of Outstanding People «the» Young Guard «, opening Yesenin cultural center in Sivtseff Ravine and museum room at the Paveletsky railway station, the Opening Day of the monument to the poet on Tverskoy Boulevard sculptor Anatoly Bichukova, the author of Yesenin’s funeral monument at the cemetery Vagankovsky, commemorative medals, coins, stamps … to the heart reverent mood Yesenin anniversary and joins our humble tribute.

The contemporaries of the poet.

…In the afternoon I had a guy from the poems of Ryazan.

…Poems fresh, clean, vociferous, wordy. Language!

Alexander Blok

Yesenin deeply carried the theme of Russia … Russia Esenina devoid of dark color vizantivizma. She comes from Pushkin’s «widely noisy oak», «whitened birch» Lermontov «sad rowan» Feta «feminine alder» Bunin … In place of refined noble letter brooked no brightness in anything, but especially in the palette, came cheerful peasant love of color, flamboyance so colorful and brought a bucket of lush green, mellow yellow, dark-blue paint. The basis of the figure was the metaphor that comes from the people’s mysteries … This is — the painter of the people, who became a great artist and has transferred his academic brushes sweep Fleiss, accustomed to work on signs. This poetic art, our eyes did not know. And just as the name of the artist Paolo Veronese green paint special tone is called the «Veronese» because the name of our poet is bound to have a special character, I would say, even — with a special texture of the poetic art. Yesenin for me is primarily a feast of elegant color, saturating the heart and makes life brighter, and his eyes widened. This is enough for immortality.

Ilya Selvinsky

Before me rose a person to selflessly loves the beauty of Russian words …

Nikolai Poletaev

Yesenin lost the ground under them. At the end of his life he was not associated with any class, with any public or even the literary group. Solitude, which he often writes in his verses, was so far elusive … Yesenin was nekrepok and cut off from life, and detachment from life — the worst kind of loneliness and deadly …

Alex Kruchenykh

…Following Yesenin. The room froze everything. Slightly hoarse voice of the poet sounds softly, but it penetrates into the deepest recesses of the soul … It is well known that highly talented Yesenin was uneven in his work. Next to his soulful lyrical poetry tried to get along and bursts of hysterical enthusiasm, as well as within it, blue-eyed, beautiful Russian guy, sometimes wake up not only mischievous, but also neurotic.

Fyodor Bogorodsky.

Russia — Esenin muse.

The image of Sergei Yesenin and his poetry worried many masters of Russian art. Nature, Russia — Esenin Muse — both ornamental and symbolic form, and the lyrically summarizes key included in almost all the images of the poet, which is unthinkable without the native open spaces, without joyous beauty and aching sorrow of the Russian landscape.

From painters most closely had come up in his paintings to Yesenin’s poetics, distinguished Nikolai Romadin. More than a dozen canvases are directly related to landscape poetry Esenina from Ryazan edge. This is indicated by the names themselves, forming a single cycle of thought «to their homes Esenina», «Childhood Esenina», «Yesenin with his grandfather by the campfire», «Yesenin Evening», «Sadiq Esenina» … Writer Paustovsky defined the genuine sense closely the closing of the poet and artist: «Work Romadina — not only the work of a painter, but also a true patriot. His paintings — a poem about Russia. Romadina We have a lot in common with Yesenin, and like Yesenin, it can truly be said: «And I will praise the whole being a poet in the sixth part of land with names Short Rus». These words can be attributed to other painters, whose paintings palpable Yesenin verse melody, its penetration into the spiritualized beauty of nature.

What Yesenin himself belonged to painting, the art? Once in Moscow, a young man, he is in the Tretyakov Gallery. He especially likes the painting Polenov and Levitan. Similar images Nesterov and Bilibin. The poet visited Repin «Penates», reads his poetry. It is found in a workshop Konenkov with other contemporary artists. It is often in the company of George Yakulov, discussing with them new ideas in a kind of cafe Imagist «Pegasus Stall». There’s also met with the French «sandals» Isadora. The poet reflects on the synthesis of the creative capacities of man: «Every type of skill in the art, whether it be a word, painting, music or sculpture, there are only a few of the vast organic thinking of a man who is carrying all these forms of art only as it needs weapons.»

Interests Esenina diverse. According to friends, he became acquainted with the work of French artists, in particular, for a long time does not leave with a book containing reproductions of the young Picasso. On a trip to America, the poet sees its industrial might, architectural innovation, comfort of life and at the same time the poverty of spirit, «American fully immersed in the business and does not want to know the rest. American Art at the lowest stage of development. «

Contemporaries wrote that Yesenin torn between old and new, biblical parables and revolutionary slogans, it lies somewhere between Kluyev and Mayakovsky, between rural and patriarchal «Iron Town.» But it was a narrow rectilinear scheme. Yesenin as a literary phenomenon more multidimensional, complicated, wider than «the last poet of the village.» After all, he skillfully developed and deepened the tradition of Russian urban romance. «Sadness fields» turned into anguish and loneliness «Moscow Taverns» and «black man». But most artists are oriented in his work on the «Song of rain and bird-cherry» on a wooden Esenin Russia, opposing its sinister and hostile attack the city, «as in a straitjacket, we take nature in the concrete.»

Of course, Yesenin was urbanist — Bruce, Mayakovsky, Aseev — but Moscow in his poetry also could not leave artists indifferent. Eugene Kumankov found a great keyword phrase the poet metaphorically characterizes the charm of appearance of the capital: «I love this city elm» — wrote Yesenin, in this «elm» concluded surprisingly accurate and comprehensive definition of particularly complex architectural ornament Moscow. It and ligature directly, such as Basil, the Kremlin towers and masterpieces Naryshkin baroque, but it and ligature combinations periods where it follows the turns are and brilliant creation Bazhenov (Pashkov House and the temple on Ordynka), and the University of Kazakova, playpen Bove. It is diverse structures of post-Empire style in Moscow, Vrubel and mosaic Metropol and patterns the red walls of the Kremlin and the White Kitaygorodsky … «Tall buildings Yesenin, of course, not ‘seen, continues to develop his idea E.Kumankov, but they reflected «elm» Moscow architecture. This «elm» subtly and gently handed in most of their Moscow E.Kumankov landscapes, like the enchanted beauty and comfort of leaving the past in the vicinity of the Arbat street Nejdanova, Katchalov, Basman, Stanislavsky, Ordynka, Petrovka Neglinka, Sivtseva Ravine, which was the first family Esenina at the shelter gave him a first-born George Anna Izryadnova. And the whole range of alleys and streets — certainly Esenin Moscow …

«Village Poet» feel the city in which he was happy, love, desire, heart, artist, found for him the exact words, though often bitter, full of frustration and anguish. Even if he did not take it entirely his poetic consciousness, it was necessary for him to serve as a kind of artistic contrast, again and again to return the soul to the paternal peasant edge — to the memories of his youth, first love, the source of inspiration for the poetic symbol of Russia. In these contrasts, romantic and nostalgic contrast, even in this exalted idealization of the past, a village of nature are artists of different generations a strong creative impulse, live roll with its own destiny. And many of them that have known the glory and vanity, and still retain the warmth and freshness of the village primary sources, re-read as a confession Esenina between urban vanity and abandoned house:

I was not looking for any glory or rest,

I know this glory vanity.

And now, as I shut my eyes,

I see only the parental home.

I can see the garden in blue nakrapah,

Quiet in August to lay down the fence.

Keep linden green paws

Avian hubbub and schebetnyu.

Artists Yesenin theme.

Nikolai Kalita

Past topics Yesenin I could not be pass in his work. Over 35 years of experience in engineering woodcuts I was fortunate enough to make more than 150 portraits of writers and poets of Russia, beginning with prominent representatives of Russian literature of the XVIII century, including my immediate contemporaries — Soviet writers, as well as the words of the famous Russian artists abroad. Today is also working on an anthology of graphics that can be called «Women of Russian poetry.» Among them are such well-known poet as Marina Tsvetaeva, and almost forgotten how Schepkina-Kupernik whose great poetic translations of Shakespeare opened to us and Moliere.

Here’s a band, and it is certainly not lost, did not become a purely chronological image of the great Russian poet Sergei Yesenin. It is better to understand it, to understand its identity and unique lyrical charm helped me acquainted with the literary pantheon of the early XX century, with the brilliant names of Russian art and literature, which formed a capacious scale and aesthetic concept as the Silver Age. On this subject I have been working the last ten years, almost systematically, aware of its historical complexity and psychological difficulties raznoobrazie.Preodolet helps reverence for talented people to the era of revolution; among them entirely different and wonderful in its own way, and Vladimir Mayakovsky, Nikolai Gumilyov, Igor Northerner and Anna Akhmatova, Edward Bagritsky and Boris Pasternak, Pavel Vasilyev and Sergei Gorodetsky, Alexander Blok and Mikhail Kuzmin … I want each portrait perform certain imaginative finds, in particular the graphical key, using the whole range of expressive means of woodcut. I started to engrave their own since 1950, graduated from the institute, where I put the hand, opened his eyes to the possibilities of printmaking experienced teacher Mikhail Matorin.

Woodcut allows you to clean the image generated by the random trivia, weed out unnecessary details and descriptive details, thereby exacerbating and enlarging nature of the study. Then the portrait becomes chased carrying certain emotional mood, a kind of symbolic information about the hero. Besides portraits Esenina, I had to do graphic design and illustrations for his lyrics, the poem «The Black Man.» And in this work, I went from bright cheerful motifs of his poetry, imbued with his sincere patriotic intonations.

Vyacheslav Savosin

Portraits of writers and poets — one of the main themes of my graphics in the 1960s, when the winds of freedom blew briefly when they were weakened by many absurd prohibitions, including disgraced names in poetry. The technique of linocut by me were carried portraits of Yesenin, Akhmatova, Pasternak … But Sergei Yesenin read poetry started at school, although there it was then, as they say, do not pass. I managed to get some old editions, small shabby little books like «Moscow Taverns» rewrite, to learn. And then these verses were living with you now as folklore, constantly at the institute who had read at parties and meetings. In general, in a circle of close friends.

No Esenina are not held none of the feast, he was in sorrow and in joy. However, many then not very good faith and too broadly claimed that political thinkers «Sixties» were Okudzhava, Yevtushenko, Voznesensky. But I remember that among the Russian intelligentsia in the era of Stalinism was poetry Yesenin represented the freedom of the spirit, was considered synonymous with the mysterious Russian soul, has been on everyone’s lips. Of course, it is not read in the audience of the Polytechnic Museum and at poetry readings in the House of Writers. But somewhere in the institute hostel or Vagankovsky Cemetery at the grave of the poet, or just outside, in line at the station always appeared some Crank, similar to the immortal Shukshin character, and could spend hours recite «favorite earrings.» This is more impressive than the millions of copies of official Soviet poets, bulk lying on book shelves.

For me were equal area and ravnolyubimy poetry Blok, Yesenin and Mayakovsky. Each of them in their own way expressed fatality Russian genius: the highest rise of the spirit, a happy guy and short in the prime talent death from despair, persecution, its irrelevance to society, hands dull and criminal power to destroy the best brightest minds in Russia. Even the poets and artists in Russia were aptly Bunin, obsessed with «Russian passion to all kinds of self-destruction.» We have to admit that the genius, especially the Russian, — it is always a tragic figure, filled with pain and bitterness. Even on the crest of the revolution, bright dreams of universal human happiness poet suddenly desperate admits:

Friends! Friends!

What is the split in the country!

What sadness in boiling fun!

Still, for me as an artist in the foreground it was not a tragedy Esenina, and his youth, sincerity of feelings, recklessness and remove cleanly Russian soul, his poetic and even external charm. From iconographic materials, I often used the photographs of the young 20-25-year-old Esenina when happily evolved his literary career, personal life, when he was close to his village folk roots: «I am the last poet of the village …» and the dramatic breakdown of the approaching rock 30th anniversary, I deliberately left behind the scenes, probably was not ready psychologically to reflect this period …

When making a portrait, hand led some inner feeling, mental contact with the verses of Yesenin, his empathy lyrical hero. I figured not a great poet, and like an old friend, a very close person who had a good Russian person who inspired the expressive voice and a little sad, trusting eyes. In the imagination of the music played Yesenin’s poetry: «I do not regret, do not call, do not cry, All will be held as a white apple smoke …» How many romances and songs on the verses coined by poet and composer, and amateurs! And do these verses always reveal a distinct inner melody. This emotional melody and checked the accuracy of the portrait.


My first encounter with the work of Esenina occurred in the fifties in a remote, abandoned village, where we, the students of art school, was brought to harvest potatoes. We lived in an old, ramshackle house from time to time a lonely widow aunt Mary. Dull autumn evening whiled away in the company of the hostess, generously replenish our urban memory skinny untold reserves village rhymes, songs and proverbs. Having exhausted the rural theme, she moved to urban folklore and poetry. Poems struck me deep, melody and clarity of form. That sad, desperate, valiant, the hopelessly tragic, they penetrated to the heart, and easily remembered. «Who wrote it, Aunt Maroussia?» — «Who wrote that? Yes heavenly angel — Sergei Yesenin. «

As the years passed … I remember a short period of Khrushchev’s «thaw». It seems that in 1964, the building Literary Museum in Moscow, the atmosphere of mystery, excitement gathered light. Finally — the silence, the old gramophone, the rustle of hackneyed by the time a unique record — «Black Man» performed by the author — SAEsenin.

No, it was not the performance, and all-consuming passion, the powerful energy of the creator, burn yourself on the fire of his creation. She could not help scorches everything, permeates every cell of the soul, causing a nervous fever and chills throughout the body. The shock of such a force, I experienced before but the voice of Chaliapin in «Boris Godunov», but there was music, but here — nothing but a lonely, tormented-rattling voice of the poet …

In the late sixties, I settled in Zamoskvorechie at Pyatnitskaya Street, across the street typography partnership I.Sytina. Next — Thorough, Bolshaya Polyanka Ulitsa, hooked B.Strochenovsky lane — the place where he lived and worked Yesenin.

It is flown by a quarter of a century. Late one summer evening in the company of friends from the television we walked favorite lanes Zamoskvorechye. Walk accompanied by my stories and ended with a surprise proposal to make a documentary about Moscow Yesenin. The basis of the script served as a midnight my story, complete with new materials and excellent work operator Tom Patterson. The film brought together the disparate notions of my short and tragic life, broken and crushed a monstrous state mechanism for the suppression of the free creative personality. I never believed in suicide Esenina, for once in his youth saw the beautiful plaster mask removed from the face of the deceased. On the frontal bone killer for centuries left a deep dent — a terrible trail of physical violence.

The film prompted to realize the need to pay tribute to a whole generation of great Russian artists who paid with their lives for the suffering and the right to be «God’s Dudko» (in the words of Sergey).

So there were images of Marina Tsvetaeva, Anna Akhmatova, Vladimir Tatlin and, finally, S. Yesenin. The symbol of evil fate, persecutor of the poet and people close to him, was the rope connecting the wings of dead ropes of the creator and his rock muse — a great dancer A.Dunkan. I wanted to destroy the artistic stamps of years past: trying to hide in the village genius Esenina blouse, turn a great poet in a foolish Lola with blue eyes and golden curls of hair, not in charge of what is happening. A considerable contribution to the distortion of the image of the poet made and fellow writers, strained trying to fill the vacuum created after his death.

Yesenin — it body and the warmth of our land, its multicolored inks. It is hard to imagine in the cold marble cemetery, and «bronze mnogopude.» Most organic for it seemed to me the image of an ordinary clay — earth, held together with the water through the crucible of fire.

Tatyana Sokolova

Poetry and poets — not episodic theme in the work of the Moscow sculptor Tatyana Sokolova Mikhailovna. Not just her image inspired Pushkin, and she embodied it in a variety of genres and materials. Ferdowsi and Dostoevsky, Tsvetaeva, Vladimir Vysotsky entered the gallery of portraits of the most successful sculptor.

Yesenin, made in wood, in gentle tones of golden surfaces settled unusually, in a tragic way, touched the heart of a shrill. This sculpture of a requiem, the solemn memorial song about the poet of the Russian land. A year later T.Sokolova captured bronze in our contemporary poet Nikolai Rubtsov, as if confirming the obvious continuity of lyrical talent, the roll is not only poetry, but also the fate, a mysterious connection between the two bright, no dimming of our memory national character. And he Rubtsov so claimed his spiritual kinship with the great poet:

…Yes, he looked briefly into Russia blue eyes of the poet,

But was Taverns sadness?

Sadness, of course, was not it … Yes!

Milestones all the upheavals of the earth,

All the earth shrines and bonds used by the nervous system as if entered in the restive Yesenin muse!

This is not the last day of the muse.

With her love, I resent and cry. It means a lot to me,

If I myself anything significant.

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