Teachers

Teachers

They offer… Personal knowledge of how The eye and the hand must act in order to transform the act of vision into a visible thing.

Paul Valerie

Komardenkov and Egunov were friends. And Stroganoff to them were treated differently: to Egorov-rapturously, Komardenkova Many did not salute. I remember came to Komardenkovu for a lesson, it was even before School, I give money, and he:

-Did you bring the money? Now come with you to the Metropol…

I saw: not sober. Under the table-a stone-barrel Bottles of port wine.

Replaced the blue-red striped pajamas on Jacket.

-Well, let's go.

Marble staircases, like popoblami, sheltered carpets. White hard starched tablecloths. And-Komardenkov: not shaved, in not Iron suit. Habitually sank down at the table, nodded affably to the waiter, Threw:

Champagne!

And when he brought the bottle,—in the edge poured him Glass. First. The waiter thanked and, having covered a glass of a napkin-and Put her cone, white, starched,—Carried away.

The second bottle was crucified. Komardenkov Rose:

-Now in «national». Drink coffee!

The waitress brought a brilliant Coffee pot, two little cups and asked:

-Will you pour?

-No, I myself! -and stretched out to the coffee-pot trembling Hand.

From «national» went to the nest Lane-there, in the house where then lived engineer v. Kotrowski, who introduced the «fiction» category into the theory of modern art, was at that time Roma theatre «romaine».

-Visit my «frogs».

It must have been a merchant's haruthing and one Of the reasons that have been preventing them from seeing the true significance of the personality of Komardenkova. Another reason was perhaps Egunov, with his aristocratism, imposants and Success. Loud fame Egorova proved too strong background for Komardenkova-the background, which was not viewed distinctly features of its Human, artistic and pedagogical talent. But talent is not Was less remarkable as it did not become less significant His influence, sometimes unconscious neither by the teacher nor by the disciples.

I remember his first lesson. Komardenkov put In front of me a clay rat, went away and spoke:

-You probably know: there is light on the form and Shadow. And the colors are divided into warm and cold. Warm-it is close to the solar Light. Red, yellow, orange… Cold-close to the moonlight…

He did not mention the word «spectrum». His colors Were grouped around day and night. Sunlight, moonlight… His hand lay On the wing:

-Look attentively! There is not a single Place that would be repeated by color. All the different… When you draw, Try to discern the shades. As many shades as possible…

The next day he started with the same:

-Look carefully! See how they Different,—light and shadow. The light is warm, the shadows are cold. In the light of every morsel The wings are of a different hue. Look carefully. strengthen the shades… Warm Brings. The cold is removed. The sharp border of light advances the form forward.           .          

Perhaps it was his main concern- Teach to see, forcing to rediscover the nature.

-Look: The edges of the shape are strained differently. U The glare one edge is soft, the other is sharp. See? And the edges of the rat.

He taught to depict the shape of the subject through color- Taught to acquire the material from which painting is created. And he himself was Color Wizard. I remember one of his still life: a bright red tomato on Wooden, lilac in bright sunlight table and wooden spoon, Painted on black Kinovaryu and Okroj. One day he hung in front of me Golden Gray Rag. I've been tormented for a long time with a palette. Convey the color of the drapery Failed. It was made indecent-warm, pinkish. Komardenkov Said:

-Add yellow and black…

I distinctly remember: he said Black. It was Contrary to all my ideas. I listened to the advice. and rejoiced: the new The combination gave an immaculately picturesque color match. But in the school Komardenkov rarely interfered with the edification when we drew. More often it just Was telling at this time about something or about someone who brought him Life. But the most interesting stories I heard from him, however, during the private Lessons. Once showed a piece of snake skin:

-It is from Mayakovsky's tie!

Another time he told about Bulgakov. I saw On the wall of his room a photograph: Two men and two women on the beach. One of the Women was particularly good—a handsome face, folded magnificently, and a swimsuit Spectacular-in a large black and white vertical stripe. I asked Komardenkova, Who is this. He replied:

-Mistress Bulgakov.

He paused, and then smiled slightly, remembering:

-One day they read a new play in Mhaté. Author Person influential, believed that such a proletarian comedy should be. Then Bulgakov stood up: ' ' I have nothing to lose, if it is a comedy, the crematorium- Kafeshantan

Most of all, and the easiest to tell Komardenkov about the artists. I remember how enthusiastic Sapopoulos was, saying cheerfully:

-will start the scenery-and throw. Lying long -In the trash everything, in the butts… And when the performance is ready for release-for the evening Can finish! Takes a wide brush-Fletz: «Well, now let's Walk A stagecoom! «Surprisingly quickly worked!

Once I was told to bring everything I Drew for a year. I brought it. Komardenkov was surprised:

-How many works!

I dared to notice:

-You did all the time scold me, that I had little Draw!

He hemmed.

-Golovin's disciples were preparing the scenery for Performance. He comes to the evening—and at once: «… How little did you do! » Try the guys, and he's all unhappy: little! And shortly before the release Konstantin Alekseevich Kororin appears in the workshop. I saw and Gasped: How much is done! The boys complained to him, «and Golovin-de all of us Ruds, Little, says. » Konstantin Alekseevich thought-thought and smiled: «and Properly does that scold! Is it clear? «Komardenkov himself also surprised us more than once. Before the exhibition of his works, which opened in Stroganovka, he suddenly revived the weight Sketches of scenery-practically rewrote them anew. Naturally, the exhibition Initially caused confusion. Everyone went from work to work, abstaining From the sayings. And at that time Egunov appeared. Passed, looked, tossed Loud:

-Beautiful things!

At all it was impressed: in the school Knew Egovskaya's exacting. He could approach the picture, poke her in her Cane and drop sharply:

-Here is cut-there will be two pictures!

I saw him do it on one of the Opening days. The bust of Egorova was also exhibited there, not very successful. Egorov Then delayed the step near him and giggled:

-Let them mould! Wanted to give me, and where I Put it on?

Egunov led us to a drawing. He was, unlike Komardenkova, the lessons are extremely active. It'll come to someone. Over the shoulder:

-What is this wire for? -If the picture On the contour.

-well-…

He's going to go away, sit down and wash Rubber band! Then, not waving crumbs, takes a pencil and draws, not paying for Author any attention. It is worth not knowing what to do… If Komardenkov Opened to us the color of nature, then Egimov taught to feel and think form in Space. He did not recognize the contour drawing, he taught to mould the environment.

I remember sitting in the hallway, drawing Venus, and He is passing by. glanced, as usual threw on the move:

-Angle to draw! -and went on.

I didn't understand anything at first. I started thinking. Then it is opened – it is necessary to look at the form in unity with space. Venus Stood in the hallway, in the corner. Egodov liked to push forms, accustomed US acutely Feel their differences. We had a typical staging: Skull and Cube.

Will put and will say:

-Draw without contouring, strokes!

And on the change he made a drawing-one Vertical short stroke. A drawing of a skull lying on a plaster cube. Constructive forms in living space-air, light and shadows. This is essentially Reminiscent of Rembrandt's drawings.

Trying to show the plastic nature of the form, It was sharp in comparisons. Stands in the studio before us model high, skinny,

= it:

-Do you have a beauty! Like a herring!

About the other:

-Here is the beauty! It's a closet!

Or:

-it's not the buttocks, it's watermelon! Two watermelons!

He was altogether somewhat extravagant—and in Language, and in deeds. Didn't recognize the sketches. Said:

-It's like doing onanzme! Nice, but harmful…

A tall, thoroughbred face with a massive, Elegant cane in his hand, in a faceted skullcap, he remained in memory as the embodiment of High artistry. And next to it Komardenkov. Slightly swollen nose, wide Cheekbones-face Russian-Russian… I see them.

Komardenkov:-Look carefully… Wreak When you draw, shades!

Egunov:-The angle should be drawn.

P.S. in Stroganovka there is a legend.  The year 1954. In one of the classes are accustomed to draw Nudes. Suddenly the door opens   Class, appears Egunov and from the threshold says:

-Stand up, cattle.    Matisse is dead.

V.S. Grikkov