In Gurzuf — a cozy little village on the shores of the Black Sea was once a house of creative artists KAKorovin name. Preserved there is the building where Korovin at the beginning of the last century, lived and wrote his works, solar and lunar works imbued with freshness of view of the surroundings, the colorful enchanting system. Here in the postwar years, from around the country came to the artists (and not only artists), write, draw, strengthened by bathing in the sea, health, organized fun «skits.» It was a kind of domestic «Barbizon», where masters of fine art can ease to communicate with each other, working constantly, increasing their skills in plein air painting. Today the house is full of creativity went to Ukraine, has turned into an ordinary spa facilities. Artists there are rare, but still happen. I, for instance, ingrained habits try to go there every year … I sit like a sea, I write a little essay that session. Runs disheveled, basketball growth guy with a sketchbook. He asks: «dinner soon?» I looked at the clock: «An hour.» — «Well. then have time! «Installed size meter canvas, I took a bunch of big bristle brush, what usually whitewashed ceiling. Held in the middle of the canvas skyline. And let’s vigorous smear. At the top — gray-blue. This sky. Below — a bluish-gray. This sea. One, two — and voila! It seems to be time to …
Different approaches have an image of nature. And its imposition of her impulsive, irrepressible temperament, mental health at the moment. And attentive gazing, it knowledge of laws and limitless possibilities of plastic varying techniques of fine art.
What is the main work at the landscape? Leave aside the arguments of the vocation and the love of art. Needless to say, the materials are of great importance, used by the artist on canvas or cardboard, brush, palette knife, the quantity and quality of paints, thinners (we are talking about oil painting, watercolor on existing articles, books, booklets, practical recommendations preizryadno number). The important role played by the objects, without which the painter, working outdoors, sometimes with the wind, the sun, bad weather, can not do. It etudes of different devices (not just «with legs»), easels, portable, folding chairs, umbrellas, and other special. Yet the most significant in the plein-air painting (inseparable from the original layout) — a choice motiva.Peyzazhist must understand for themselves: why, for what purpose he writes? Whether it’s the nature of the training exercises in professional development, another «warm» hands and eyes «purification» under the conditions of an open-air palette. Or overly enthusiastic reaction to the contemplation of the world. Or transfer of ethnographic characteristics of a particular area, often with the architectural structure, the introduction of human figures. Either the full-scale collection of material for the planned large-scale compositions. Each individual case dictates a certain manner of beautiful handwriting … In the past I had a short time to work in the open air with a major painter of the old academic school. While we are young, «slapping» a few studies in the day, he did not do anything, go back and forth, eyeing. And then, having found «required», confidently and quickly, with remarkable skill, has created a masterpiece of museum value.
Pioneer «etyudizmu» in Russian painting can truly be considered Vasily Dmitrievich Polenov. At the beginning of his way, and then, during trips to Egypt, Syria and Palestine in connection with work on a grand painting «Christ and the Sinner», he wrote a lot of landscape and ethnographic studies. Small size, detailed, with live color transfer-air, they were exhibited Wanderers and their uniqueness makes a strong impression on the audience. Even such a severe critic as Stasov spoke about them? «Other landshaftiki very nice.» Until now, some critics believe (wrongly or not — is another question), if, in the case of Alexander Ivanov, for his studies Polenova color coherence in some way superior to the work itself, for which, in fact, they were created. Polenov wrote not «just», «just in case.» Selecting a motive for him — the personification of pre-conceived ideas, problems caused by creating a series of paintings on the life of Christ. Students V.Polenov, K. Korovin, Levitan, A.Arhipov, V.Baksheev continued picturesque line of his great teacher and brought up plein air etyudizmu virtuosic perfection. Since then made directly from nature sketches, well positioned on a different level and nature exhibitions. And not as a preparation, auxiliary materials to the picture, but as easel works of independent significance. It was the highest point of the landscape etyudizmu. Later hobby mandatory (in the style of «a la Korovin») the execution of a nature landscape skorospelok most part, odnoseansnyh and considerable size, there was rampant fashion. At these exhibitions «nashlepochki» strongly pushed thoughtfully designed easel works. But the picture — the basis of the national artistic culture, a barometer of the state of our society and its relation to art … So what to do? Everything is very simple. And studies (and perhaps most) write. And serious composition (based on the studies) components. While pursuing different goals. First, training. Must be able to work outdoors in all weather conditions. It is necessary to improve the tonal (that is lighter, darker than that) looking at nature. It is necessary to take care of color harmony (warm, cool colors), to get rid of excessive «blackness». And remember that all these processes are caused by an interesting and sensible choice of motive.