Transfer from German Sergei Averintseva
My days were sad
In a hopeless thought the spirit is frozen,
The soul had no strength left,
And no one wanted to hear
How dark and languid my heart trembled,
How it froze in the last melancholy,
How dejected
It smelled
An unbearable sight for all living things:
The darkness of the underworld, decay, decay and darkness.
But the will endured; in the very abyss of troubles
A blessed light was shed on my pain.
At the hour when hopes are crushed
The blood was freezing,
The sweet image was a consolation to me;
Unloved, I kept love everything, -
Until the time when my soul is sad
The dear image has sunk into the muddy, dead chaos
And sick spirit
He became dumb and deaf;
The bottomless mouth opened up; emptiness around:
There is not a spark in my blood, there are no stars for the eye.
And no matter how much the heart prayed for the light and the sky,
It found no participation!
The growing point, the ovary of all flowers,
The purest fire, the joy of being!
Open to anticipation
My future appeared to me.
But living flame the hearth has cooled down,
The ashes are getting colder, everything around is distasteful,
I. gaping throat
Having seen the emptiness,
I asked myself: am I born for this?
Is this the fate condemned to in the world?
God, there is no peace for me, there is no satisfaction for me;
Shorten the time of my languor!
Or am I really abandoned by God?
I, who dared to grumble and blame,
Unable to bear a strict sentence
Is it good to accept the incomprehensible?
I failed to sanctify every moment of bliss1
Isn’t it then that the image of perfection is taken away,
My sweet image
No longer with me?
Take away the time destined for me with him,
Take away eternity; the burden is unbearable for the soul.
In a word, you called me out of chaos,
You gave everything, and everything, and you took everything!
No! Love without measure and limit,
God, was my groan really heard?
Has my blindness really seen:
Having given everything, will I rise healed?
Is it given to me to experience what I prayed for?
Your mercies, O Good One, I want to tell you.
You gave light to the spirit,
You gave the eye color!
In evil days, when melancholy oppressed the mind,
The transparent meaning of the flower became dark to him,
But now I see: refracting in the paint,
A ray is revealed and things drown in God’s caress.
Has blackness darkened my heart?
And it was scary, like a vision of evil?
My beloved stood before me,
And the soul lived in her eyes.
At the hour when the heavenly ray was revealed to me,
My spirit was united with the fullness of the earthly.
Everything is one: a gift
Mountain, low heat.
The one who is unknown higher life light,
There is no point in this life either.
Your eyes are dark: drawing moisture
A treasure trove, I absorb strength and courage.
The world, alive with secret rays,
All in bloom lies in front of me.
I see a fiery gaze, a beloved gaze,
And your tenderest heat touches your cheeks,
The blood flows faster, the veins come to life,
The entire body composition is instantly filled with strength!
Your eye
Strong magic;
If you shake hands, a living spring gurgles,
A fleeting moment is perceived into the mystery of eternity.
So because he was faithful to faith without faith,
Today I am loved without measure.
Poetry of the German Romantics / Comp., preface. and comment. A. V. Mikhailova. – M.: Artist. lit., 1985. – pp. 247-249.
Comment by A. V. Mikhalov:
"PHILIP OTTO RUNGE
The remarkable North German artist Philipp Otto Runto (1777-1810) was born in the city of Wolgast in Pomerania, at that time a Swedish territory. His teacher was G.-L.-T. Kosegarten, sentimentalist poet and "Ossianist", who had a strong influence on Caspar David Friedrich. Acquaintance with Tieck subsequently had some impact on Runge’s state of mind, but still formerly an artist, who studied painting in Hamburg and Copenhagen, was so imbued with the romantic moods that seemed to be floating in the air and refracted them in such a unique way that Tick, upon meeting him, was amazed by his drawings, which strived for graphic laconicism and hieroglyphics in conveying the most abstract romantic fantasies. The graphic cycle “Seasons of Day” was analyzed by Görres in an inspired review (1808), which did not at all resemble the usual examples of this genre; Runge's research in the field of color theory was approved and highly appreciated by Goethe, who sincerely sympathized with Runge and spoke warmly of him. Just before the death of the artist, who died of tuberculosis, he wrote a long, heartfelt letter to Brentano, who was also occupied with the problem of a graphically sparse and deeply meaningful image - almost the same days, the artist himself wrote a letter to Brentano, their letters met on the way, but the poet’s letter had already Runge was not found alive. Runge was constantly attracted by the need to express himself in words, to explain in it the essence of his images, and he showed himself, but without success, in literary creativity. One of his fairy tales (written in the Low German dialect) - “About the Almond Tree” - appeared in Arnim’s “Newspaper for Hermits”, together with another - “About a Fisherman and His Wife” - it was included in the “Fairy Tales” of the Brothers Grimm. Both remained in the memory of German readers. The second of the fairy tales is the source of Pushkin’s “Tale of the Fisherman and the Fish.” Runge wrote many poems, but did not seek to publish them. They were included in the major edition of his letters and literary works, published by his brother Daniel in 1840-1841” (p. 476).
- (Runge) (1777 1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In symbolic and allegorical compositions, Times of Day... ... Art encyclopedia
Runge Philipp Otto- (Runge) (1777 1810), German painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, which are characterized by close attention to nature combined with latent emotionality (“The Three of Us,” 1805); V… … encyclopedic Dictionary
Runge, Philip Otto- Philipp Otto Runge. Portrait of the Huelsenbeck children. RUNGE (Runge) Philipp Otto (1777 1810), German painter and graphic artist, art theorist. Representative of early romanticism. Poignant portraits (“The three of us”, 1805), allegorical compositions... ... Illustrated Encyclopedic Dictionary
Runge Philipp Otto- Runge Philipp Otto (23.7.1777, Wolgast, Mecklenburg, ‒ 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799‒1801) and Dresden (1801‒1803) Academy of Arts. One of the founders of romanticism in German... ...
RUNGE (Runge) Philipp Otto- (1777 1810) German painter and graphic artist, art theorist. Representative of early romanticism. True, poignant portraits (The three of us, 1805), allegorical composition Morning (1808) ... Big Encyclopedic Dictionary
Runge- Last name Runge, Karl (1856 1927) German mathematician and physicist Runge, Boris Vasilyevich (1925 1990) actor of the Moscow Runge Satire Theater, Vladimir Fedorovich (born 1937) Soviet and Russian designer. Runge, Friedlieb Ferdinand (1794 ... Wikipedia
Runge- Philipp Otto (Runge, Philipp Otto) 1777, Waolgast, Pomerania 1810, Hamburg. German painter, draftsman. He studied in 1799-1801 at the Copenhagen Academy of Arts with N. Albigor, then in Dresden (1801-1803). From 1804 he worked in Hamburg. In the early... ... European art: Painting. Sculpture. Graphics: Encyclopedia
Runge- (runge) Philipp Otto (1777, Wolgast, Mecklenburg - 1810, Hamburg), German painter, graphic artist, poet and art theorist; representative of romanticism. He received a commercial education, then studied at the Copenhagen (1799–1801) and Dresden academies... Art encyclopedia
Runge- (Runge) Philipp Otto (23.7.1777, Wolgast, Mecklenburg, 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799-1801) and Dresden (1801-1803) Academy of Arts. One of the founders of Romanticism in German... ... Great Soviet Encyclopedia
Runge F. O.- RUNGE (Runge) Philipp Otto (17771810), German. painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, in which close attention to nature was combined with latent emotionality (The three of us, 1805); V… … Biographical Dictionary
Books
- Classicism and romanticism. Architecture. Sculpture. Painting. Drawing 1750 - 1848, This book is dedicated to fine arts and architecture of the era of classicism and romanticism. Richness and diversity artistic creativity in the period between Rococo and realism, of course... Category: Cultural studies. Art history Publisher:
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Runge was one of the first romantic artists who set himself the task of synthesizing the arts: painting, sculpture, architecture, music. The ensemble sound of the arts was supposed to express the unity of the divine forces of the world, each particle of which symbolizes the cosmos as a whole. The artist fantasizes, reinforcing his philosophical concept ideas of the famous German thinker of the 1st half. 17th century Jacob Boehme.
Runge's cycle, or, as he called it, the “fantastic-musical poem” “Seasons of Day” - morning, noon, night - is an expression of this concept. He left an explanation of his conceptual model of the world in poetry and prose. The image of a person, landscape, light and color act as symbols of the ever-changing cycle of natural and human life.
In “Morning,” nature opens up to life, like a newborn person reaches out to the world. Lily as love becomes a symbol of the creation of a new world. “Noon” is the time of maturity of nature and man. “Night” - it fetters everything around, but also gathers forces that must awaken with the onset of morning. The artist spent the last seven years of his life executing and thinking about this program. At the same time, Runge was studying color theory, and his book “The Color Ball” (Hamburg, 1810) was highly appreciated by Goethe. The second version of “Morning” seems to be the most complete in the “Seasons of the Day” cycle. In the center of the composition is the figure of a young woman - the morning dawn, and in front of her in the foreground is a cheerful baby - the day that was born. The artist worked on this construction of the picture for a very long time, improved the drawing, and searched for an unusual color range. The color of “Morning” appears in bluish-lilac, pinkish, yellowish tones. The perception of the painting program involved musical accompaniment.
In addition to this large and important work for the author, two gospel compositions were completed - “Rest on the Flight to Egypt” and “Walking on the Waters” and several portraits, mainly self-portraits and images of people close to the artist: “The Three of Us” (1805), parents (1806), children of Huelsenbeck (1805, 1806). The works are surprisingly poetic and endowed with special spiritual purity.
The image of the romantic poet is seen by Runge in his self-portrait. He carefully examines himself and sees himself dark-haired, dark-eyed, serious, full of energy, thoughtful, self-absorbed and strong-willed. young man. The romantic artist wants to know himself. The manner of execution of the portrait is fast and sweeping, as if the spiritual energy of the creator should be conveyed in the texture of the work; In a dark color scheme, contrasts of light and dark appear. Contrast is a characteristic painting technique of the Romantic masters.
A romantic artist will always try to catch the changing play of a person’s moods and look into his soul. And in this regard, children's portraits will serve as fertile material for him. In Huelsenbeck's portrait of children (1805), Runge not only conveys the painting and spontaneity of a child's character, but also finds a bright mood special welcome, which anticipates the plein air discoveries of the 2nd half. 19th century The background in the painting is a landscape, which testifies not only to the artist’s gift for color and admiring attitude towards nature, but also to the emergence of new problems in the masterful reproduction of spatial relationships, light shades of objects in the open air. The master romantic, wanting to merge his “I” with the vastness of the Universe, strives to capture the sensually tangible appearance of nature. But behind this sensuality of the image he prefers to see a symbol big world, "the artist's idea."
Another outstanding German romantic painter, Caspar David Friedrich, preferred landscape to all other genres and painted only nature paintings throughout his seventy-year life. The biography of this master is a “classic” embodiment of the romantic artist’s understanding of his place in the world and the essence of creativity. He believes that an artist, in pursuit of money and fame, loses his soul. Art can only be served by the sublime and a kind person, because “the artist’s sensation is the law for him.”
Friedrich, like Runge, owes the history of the formation of the romantic worldview to the Dresden cultural environment. From the end of the 18th century. he settled in Dresden and never left it. Youth years artist were held in Greifswald. He was the son of a soap maker. The name of his first drawing teacher is known - Kistorn. In (1794-1798) he studied at the Copenhagen Academy. After that, he returned to Germany, occasionally breaking away for a trip, home to Greifswald and the island of Rügen. In 1810, Friedrich became a member of the Berlin Academy, and in 1816 - of the Dresden Academy. But after the title of professor of the landscape class in 1824, Friedrich was not awarded a teaching chair. The artist, trying not to betray himself, does not want to work as the Academy prescribes to him. Loneliness sets in, at the end of life aggravated by gloomy melancholy. For the last three years before, the master barely touches paint and dies, forgotten by everyone. Many romantic artists would repeat this fate. Small variations will be associated with rapid illness or suicide.
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F. O. Runge. Morning (small version). Oil. 1808. (see Appendix 63).In the 1800s German romantic Philipp Otto Runge worked on the series "Times of Day". First, drawings appeared, then, based on them, four engravings “Morning”, “Day”, “Evening” and “Night” were published twice. Then the artist intended to create large picturesque panels based on these motives. Runge proceeded from the idea of the closeness of all arts, especially painting, literature and music. Its intention is easier to understand from the author’s own commentary, since in the images traditional allegorical figures were combined with images generated by the artist’s imagination, and each element, including any flower or blade of grass, had symbolic meaning. Moreover, in the picturesque panels it was assumed that the colors would have a certain symbolic meaning. Runge's program testified that he understood the times of day not simply as the change of morning and day, evening and night, but as a reflection of the divine Universe, its perfection, all-pervading and creative power. Thus, the paintings had a certain “iconic” beginning; it was necessary to stand in front of them and prayerfully listen to the mysterious sounds coming from the higher, heavenly spheres.
The main layer of allegories are resurrected images of ancient myths that Winckelmann spoke about. Where one allegory appears, one has to expect another. The winged young man is depicted with his eyes blindfolded with a ribbon and a cornucopia at his feet. This is Favor, the product of happiness and beauty. The word “favor,” that is, favor, is masculine in Latin, which is why this allegory is represented by the figure of a youth. A cornucopia indicates wealth, and a blindfold is a sign that favor can be blind. The young nymph is crowned with flowers, winged, her pink chariot is drawn by Pegasus, in her hands are roses and a dying torch. We see Aurora - the deity of the beginning of the day...
The situation is even more complicated with symbols. Their world is much wider. These are plants, animals, objects, flowers, letters and numbers. Folds of clothing, posture, and facial expression can be symbolic. Here are some examples. Anemone is a flower of sadness and death. His image appeared in the legend of Adonis, who died on a bed of anemones, on the petals of which red spots spontaneously appeared. In the scenes of the crucifixion of Christ, this is a sign of the sorrow of Mary, his mother. Number one is the source of other numbers, a symbol of unity. Two is an allusion to the human and divine nature of Christ, an indication of the female sex, which we divide, that is, reproduces offspring.
Symbols appear more often in those eras when the idea of two worlds becomes widespread. This was the case in romanticism and symbolism. Allegories appear in the Renaissance and classicism. Be that as it may, they are the most important part of our cultural heritage. For a long time in our society they were treated with disdain or suspicion. It seemed that they contradicted the need for a realistic reflection of reality and took consciousness into worlds alien to us. In fact, both symbols and allegories are a different way and a different level of understanding reality, and the masters of the most different eras they were willing to contact them.
