which andrei gave, yes, that you are rushing at this enormous speed, when you are rushing on a high-speed train that is rushing overtaking cars, you see nothing but a colorful ribbon, you understand, and you are your successes, which andrei is absolutely right, absolutely stunning, yes, amazing successes, you can be proud of them, of course, you need to be proud, but you don’t see them, i continue your thought, i draw your attention, look, here i am asking a reasonable question, there is a girl who is out there somewhere... .may

be such signs or details. this lightness of a girl, the joy of life , and now lie in the bathtub and so on , tell me about reading a book, be sure to tell me how you would read a book in a hammock, i want either in a hammock in the maldives, a great plan, so, or this is just a walk through a coniferous forest because it energizes after the rain it’s an incredible feeling, crazy speed, by the way , regarding the speed, i really love driving in some kind of high-speed car, where you can break the speed, drive, well, go somewhere to a race track, and directly, traveling by car, it’s actually very difficult to pull it out, because it’s as if i don’t allow myself to do this, this is how we see it, we see you, we grabbed onto it, because we see that you are trying to live according to the rules according to armored rules that everyone has, in fact, too, again i say, i am incredibly grateful. myself and

even my spouse, despite everything that happened to us, and because i began to undergo a strong transformation, a direct transformation of me, a psychological person, and where am i again every morning i get up at 7 am from 7 to 0:70 by alarm clock, i have time for gratitude, but the key point is that i thank everything for what i have, but not myself, i want to emphasize this idea more clearly to be light , for this you need to allocate special... time, and you, apparently, simply physically don’t have it, because you are constantly engaged in self-improvement, when you are always in this flow, there is a critical assessment of yourself, listening to other people’s opinions, of course, you don’t have time left for yourself, so answering your request, how to become easy, first, we allocate special time for this, what time reserves do we have, if we take a little aside from psychologists, coaches, business trainers, your colleagues there, we can...

do nothing, you know, i at some point i forbade myself, in the morning, i live outside the city, in the morning i drink tea, coffee on the terrace, i forbade myself from taking my phone with me to the terrace when i drink coffee in the morning, you see, that’s wonderful, yes, it was it’s unbearably hard, because my mail is not sorted, yes, text messages are not answered, news the news has not been reviewed, the daily schedule, so to speak, has not been updated, you see, i just understand you very well. well, i feel it,

but i suddenly realized that this is the time when i, this is 10 minutes, i sit and excuse me, please, i’m stupid, looking there at the forest, at the grass, starlings, at a drop of rain, which, yes, i just i’m stupid, i suddenly understand that this is the time in which i’m incredibly developing, returning to how to technically ensure this, so that you sit quietly for this hour with a mug , look out the window, enjoy the forest and so on further. it is necessary, it is necessary for someone to work for you at this time, that is, you need to give your responsibility, i advise you in this case to say very difficult words for such excellent students, when you tell someone at work one day, that is, you you may not trust a person, you won’t trust, maybe you will have doubts there, but you must say in your voice, listen, semyonich is there or masha, natasha, it doesn’t matter who, but i trust you, i trust you, these are the words , i trust you, they will put it on another person. the same responsibility it will be

such an elevation of a person to the rank of knighthood, an increase in his status, and at the same time you will learn to let go, and what motivation will people have, yes, when she says so, once again on yours, on people of your type, of course, the world is held on the one hand, but on the other hand, such people die standing there and, unfortunately, they are exchanged for other similar people, so let’s learn to say in words: i trust you, directly shake your hand, hug, give up this hyper-control, you can also say at your discretion, and you can also say what you decide, and you can also say, listen, do it the way you think is easier for me, i can do it, but i trust me. add, add, let's learn this, because the word, your discretion, i trust you, this will be such a gift to people in fact, because speaking, i trust you, when you hear yourself, i may even repeat, you can be the most in fact, you don’t trust it, but when you say it out loud, when your own ears hear your

own words, it lets you go a little, lets you go psychologically, physiologically, emotionally, learn to say these words, i trust you, a person may not justify the trust, let’s change it... strictly speaking, but he can justify it, then veronica has a successful girl, smart, hardworking, wonderful mother of all other words in the superlative mood , there will be time to be light, but i would like to have time to talk about more, look, i’m hooked on - this is the tension that arises in veronica when you invite her to say the phrase: i trust you, yes, that is apparently there is. it’s not a fact that she trusts us now, she thinks maybe i came, i came to the wrong place, they’ll tell me that now, but it seems to me that this is the key, you really probably have a problem with trust in both the world and people, and circumstances, when there is no trust in the world, there is no

trust in life, in circumstances, what appears in a person is control, and why, and why control, why fears, yes, if you don’t trust, then you are afraid of it, if you are afraid, which means you don’t trust that everything will go there safely, or that people will not let you down, and maybe even surpass you in some way, your employees are wonderful, yeah, from this tension, this stone concrete slab on your fragile shoulders, you can see it , yes, what you are carrying around your neck will weigh down this emotional plate of your fears, your responsibility, it is precisely from what andrey pulled out very accurately. now, yes, from your inability, inability to trust, this trust, this ease, you need to learn very carefully, and this is exactly what she needs, yes, i need to say, veronica, you must learn to be easy, you must learn to be irresponsible somewhere, i know that when

it’s irresponsible, my eye twitches again, too, and we’ll even tell you, vernika, we believe in you, we know that you really are easy, you really are easy, you can be. of course, but are you lying on the water? yes, i love you, yes, he doesn’t trust you on the water, wait, that’s right, when you lie on the water, you know, it’s this same thrill, yes, i swim too, but a little bit stress, a little bit, in stress, that is, when you’re not stressed, yes, it’s hard to overcome this, i probably have somewhere the thought that there is

a feeling of total justice inside me, when , well, and what is justice, justice, the last... story, if you want in stories, i paid for moscow parking, the application or their system is not working, i don’t know what the problem was, but the money was debited from the bank, yeah, then after a while i get a fine of 5,000, it’s offensive, it’s offensive, it’s offensive, with grievances we work, for 5,000, and then i understand that the bank removed the transaction, then returned it back, but for 5 hours i paid for parking in the center of moscow, for my part i did everything correctly, like an excellent student, but that’s all. as a result, a week later i receive a fine, and i understand that this is completely unfair, i filed, of course, an appeal, not an appeal, there is an appeal, they didn’t appeal, you start drowning in a sense of injustice, doing something unfairly, but this

injustice i celebrate everywhere and i i want to fight for justice, probably this is also due to the fact that i don’t trust the world, in this case, again, to fight justice in one, is to be a quixote, who fought with these mills, this is yours, well , actually, this is yours, yours image, your way of life in the end, again, if you see injustice, react to it, and knock on all doors, that is, we will fully support you, but i emphasize that the most important thing is what i hear and what i see, you need take veronica out of the image of a loner, the image a lone knight, because i see a lone knight, yes, you probably have friends, yes you have girlfriends, a person who has a business, has money, always has friends and girlfriends, whatever it is, the poor one. there are somehow difficulties there, strictly speaking, but it’s not a fact, it’s not a fact that you see

people close to you, perhaps you look at people and say: well, there’s actually something you’re not saying, here everything is not as good as you tell me, or maybe there - you didn’t achieve this yourself, i did it myself i kind of achieved this, this is the feeling, because in fact the sense of justice is heightened, it is typical for those who have achieved everything in life themselves, i wanted two nuances for you, but can you first say before the nuance, please tell me, i trust my . so it turned out it turned out as if we had already taken the first step, in fact, i wanted

to point out one point, back at school, back at school they wrote a wish in my diary when we were leaving school, one in the field is not a warrior, this is what we are just telling you about, and you know that you want to hug a hedgehog and a porcupine, but it’s impossible, yeah, you know, so in order to become light, you need to show your weakness somewhere, don’t be shy about it, find time for it. find believe in people who can support you, and you will actually achieve the goal you want, because you are great, well done, well, friends, our heroine veronica came with a request on how to stop dragging everything on yourself, how to stop being this small, iron, tireless tank, it seems to me that we found the right path for this tank into the sunny pine forest, which veronica generally dreams of, but i haven’t been for a long time, i ’m incredibly grateful to you, really... you helped me, found the right path for me, and i’m on my own, in - first of all, i promise, including to you,

i keep my promise, but what i will do now is to work on myself, take time for myself, don’t forget my beloved self, pay more attention to myself, really, trust the world, trust my employees, i would emphasize, there is no need to work on yourself, you are already perfect, just take a little break from yourself, and that will there will be your path to ease, i call it myself, absolutely right, if you want to participate in our psyche podcast, leave applications on the website of the first channel 1tv.ru, hello, dear friends, this is the podcast life of the wonderful, i am hosting it with you.

and it is about him that we will talk with elena komenskaya, the curator of the exhibition dedicated to weisberg, which is open at the pushkin state museum of fine arts, but before we talk about weisberg’s paintings, before we look at the paintings belonging to him. i would still like to to touch upon an issue related to his biography, this is very interesting to me as a professional biographer, because i honestly admit that i knew little about this artist, but when i began to prepare to look at some materials, i was of course struck by his fate, by the way, you you don’t know if there really is a biography of him, a description of his life, but he has a short autobiography, written by himself , one sheet of paper in size, and4 everything, everything, everything, anna yurievna chudetskaya did not write a fundamental monograph, which was published in 2018. and this the most detailed biography of weisberg , an analysis of his work, you can

turn to it like an encyclopedia and you’ll find everything there, so look, he was born in 1924 in the family of a soviet freudian, and his father was a psychologist, teacher, follower of freud in the soviet union, but he tried , that means somehow promoting these ideas, and apparently this affected the fate of the child, this is what i read about him, tell me, is it true or not, that in 1936. when the war began in spain, a twelve-year-old boy runs away to this war, he is caught almost somewhere in odessa, is this true? yes, yes, it is, it’s actually quite a tragic story, because it’s that... the very period of adolescence when his mental illness manifested itself, and it happened in the late thirties, and he basically carried it through all his life, his artistic creativity, his daily practice, very strict self-discipline, they became a way out of this mental illness, but his escape to spain, which in general was filled with such incredible romance, and this

this wave of sympathy from all segments of the population, starting there with the state ... propaganda ending with just ordinary people, boys, yes, he of course succumbed to it, well, it all ended tragically for him, then the great patriotic war, he gets shell shock, yes, he here during the war he is in moscow, he is not, he was in the forty-first year, in the month of june, he was in a sanatorium, in a children's sanatorium, he was still a child in age, and from there he leaves for the city of kansk, where to visit him his parents arrive and they magnitogorsk. spends several years in evacuation until the forty-third year, in the forty -second year his father dies, and this was also a big blow for him, from which he could not recover for a long time, but until the forty- third year he was evacuated to moscow with his parents, he returns already in the mid -forties, at this moment he decides to become an artist, and he takes lessons, in particular from

an artist with such a double surname ivashov musatov, here by the way he is a relative of borisov musatov or.

palette, that is, such formal things, is priming canvases, dividing paints into which he strictly adhered to until the end of his days, and he, despite the fact that he was very trusted, was very close to the teacher from the very beginning, they were very different in their artistic views, ivashov musatov lived a long life when he no longer 92 years old and he outlived his student, they communicated from time to time, but he was already in such mature years, the seventies, when weisberg became famous for his canvases, white on white, he argued with him, to say, this is such conceptualism , this everything is a tribute to fashion, on this they differed, but at the very beginning, and in the forties, he essentially replaced his father at some point,

because he was completely lost when he arrived in moscow, and his occupation was painting, and he his ... the graphy writes that he began painting in the thirty-fifth year, respectively, at the age of 11, they, of course, were such a way out of this emotional psychological impasse, therefore, in many ways , the classes with your musatov they served to develop his personality, and not only lessons artistic creativity. vedberg is called an unofficial artist, but this is what unofficial soviet painting in general is, he generally has a unique position, he belongs to the official one.

the so-called other art or unofficial art, of course this was never officially stated, but nevertheless he is with them with these with the circle of these artists, and this is primarily the leonozov group, this is the circle of writers, poets, philosophers, hollin, yes, yes- yes, absolutely right, yes, he is just friends with them, exhibits at one-day events exhibitions,

1947, that is, he is still very young, he is

very young, this is the summer of forty-seven, when he is preparing to enter the institute, we have a whole hall dedicated to this period, here you can already see his first such tests regarding chromatic layouts - colors in principle, this is a thing of the same period, this is also, this is also a still life, which served to submit, so to speak, your portfolio to surikovsky, so he stayed there was no such word, well, not a portfolio, yes, series of works, okay, and this one it is staged, the production refers to a still life, yes, it, of course, echoes the tradition of the moscow school of painting, which is rooted in the bobnovoletsk tradition, in essence, here we see a lesson.

now the work is in the collection of the famous moscow physician mark arkadevich kurtser, he personally knew anna blinova, she treasured this portrait very much and she left a very interesting memory of

how she posed, so she told me that it was necessary to come to the artist, there were about twenty sessions in total and turn into an apple for 45 minutes, you couldn’t move your eyebrow, scratch your nose, think about something abstract, you had to focus on the moment that... the artist was actually experiencing, and he was very strict with his models, with himself, the session lasted 45 minutes, then 15 minutes like at school, recess, and there were three or four such sessions in one day, yes, yes, but here this gradual decomposition of color begins, especially pay attention to the outline, this is of course necessary see with your own eyes, but even here in reproduction you can see here you have this in the museum, it’s all in the exhibition, this is of course... one of these most important works, uh, here we see direct contact between the artist and the model, which will then be lost, this is such a borderline thing, uh , in the halls you will see that

this blue, it is decomposed into a world of shades, it is absolutely precious, of course, because weisberg’s strength is precisely in this pictorial surface, which is absolutely like a gem, this work is also very characteristic, it is also about the same time. who is depicted? shown here father and daughter sheglov, this is weisberg’s first wife, whom her father met at ivashovo musato’s studio, and this is a farewell portrait, and when they separated, they separated, yes, they separated in the year fifty-nine, he married galina ermina, as since i already talked about which is a great gift, then svetlana shcheglova also donated her works, her earlier collections, so in general we gathered all the heirs and... this is a portrait from about the same period, it is one of the largest in general in his legacy, from the collection of the pushkin museum also, and here if in a suit and even.

this incredibly rich palette is visible, then in the white background of the wall it is practically gone, but nevertheless this complex white, it also decomposes into thousands of tiny cross bridges that vibrate. here we find ourselves in 1962, you can imagine what time this is, and this is when khrushchev was thundering there, and this is an exhibition, this is work from that exhibition, and on the second floor. saw her, he saw her, but he left her without his evil comments, on the second floor of the arena, this the work was shown as part of a group exhibition of an association of nine young artists, and what kind of association was this, by the way, it was such an association, the only one, in fact, that weisberg was a member of, also not official, no, it was official, he was already in moscow at that time union of artists, these were artists of different beliefs, different directions, but it was an exhibition association, they were interested in being

together, they were included here... boris birger, mikhail nikonov, egorshino, mordovin, these are all artists who, one way or another, were looking for way, and in general it was very, in fact , difficult to imagine now how - it was difficult to show oneself, there were no galleries, there was no art market system, and museums did not exhibit contemporary art, in fact , with rare exceptions, well, maybe abroad, to this , by the way, let’s come back, because the pushkin museum played a huge role in the fate of weisberg by exhibiting modern european painting. so this work was in 1962, in a very difficult time, and what is depicted here are oranges in black pieces of paper, i no longer remember these black pieces of paper, but people who in the early sixties received oranges on new year's day, so to speak, my grandmothers, they remembered that they were black pieces of paper, such a motive, in general, is quite cezan, it really captured weisberg, that’s straight perspective, you see here, and a table on thin legs,

which is devoid of such... yes, of course, lotman, nikitelich tolstoy, there, yes, there were such, there were such minds, they invited, vyacheslavich ivanov recalled just in an interview the wonderful , about how the symposium came together, they were interested in how structurally, how signs, yes, behave in the pictorial system, both weisberg and weisberg were interested in this, that is, he was not only a practitioner, but also such a theorist of art, yes, yes, yes, he was generally inclined to structural analysis, perhaps

he could not always express it verbally. and there is such information, just like anna yurievna writes about this in her monograph, that he was helped by the mathematician boris otarov, an artist, little known, but now i hope he will do more with him, so he gave him this i laid out the theory in the form of a diagram, but this is only an assumption, this diagram has been reproduced in life-size, as it was reproduced in the sixty-second year in the halls, it can be seen, it is called a type of coloristic perception, it somehow reflects...

very roughly - now i’m reproducing it, it is decomposed like sizan’s into a ball, cone and cylinder, yes, interpret all nature through a ball, cone and cylinder, sezan’s words, sezan’s words, yes, the last stage of perception is subconscious, this is what wesberg sought, who had not yet achieved what in the sixty-second year, but to illustrate this state, he again turned to the late works of cézanne and the heights of cintoretto’s work. well, all the old masters of rembrent, whom he really appreciated as a painter, and as for the influence of french painting on weisberg and the artistic generation, this is a separate, very interesting story, here it is directly related to the pushkin museum, and by the way, i wanted to ask, and he here are the paintings of all these wonderful painters, he didn’t travel then, yes, he didn’t go anywhere, he had an exhibition in paris in 1984, but didn’t go there, that is, he saw everything in the pushkin museum, but i

was trying to find out where he saw van gogh today. i was just checking with my colleague, i think he saw him in the cleaning room, in the museum of new western art, which was open until july of 1941, that is, while he was still a child, a young man.

all very important phenomena that wesberg witnessed. wesberg came to the museum as a laborer to see the masterpieces up close. old masters, impressionists, post-impressionists, and this was available for some time, because the queues were incredible, the museum opened at 8, finished work at 12 at night, the legendary queue stood around the perimeter, irensanna antonova recalled that it was the most fun queue in museum, where people... got married, got divorced, had dates, had lunch, and he specifically got a job as a laborer so as not to stand in line, to be able to be close to his beloved half-hearted people, then after leaving the museum, yes, he every week he came to the museum,

he visited there every week until his very last days, so when you asked about him about his education, his school was the museum, after the lessons of ivashov musatov, exhibitions, permanent exhibition.

six columns, it is now in the israel museum, in the collection of the israel museum, and this was another overwhelming impression that this picture made on the artistic community, until now, in general, if you watch the film, yes, then you well some things, like this one openly on... tell me, this is what we see here, the fact that i don’t see much, well , this is also, this is also a feature of the reproduction of the white all-bred, the so-called white on white, yes, but it is from light to light , he didn’t really like the name white on white, he called it invisible painting, such an axumarun, which he really liked, he always maronized one and somehow, but how did he come to this, maybe it will sound pretentious, but it was a search for harmony, harmony as if there was no one inside, because mental illness time.

and stools where a model could sit, well, as a rule, the model appeared there later in the workshop on serine boulevard in the early seventies, but nevertheless, this form of escopism, which one way or another captured him in the late sixties, was very characteristic, this work since 1976, and here we see this figurine of you, venus of melos, well, yes, he also has a series with tonagers, that is, these things. it’s simply impossible to analyze, it’s all

there at the exhibition, yes, it’s all work from the exhibition, it is impossible to analyze by reproduction, because these are all painting experiments, at first he works - one with valeurs, as you remember, valeur is a term from the art of the old masters, yes, this is such a tonal essence of color and he lays out the chromatic layout of color on.. , thousands of units, he even kept a count of this, in fact, this report at the institute of slovenian studies, it was precisely this that concerned this, this chromatic layout, it was so detailed and so wide that it allowed the work that seems to us now. white, invisible to make colored, and that is, this is color work, there is underpainting, there is ocher, there is umber, which then, but it is simply painted with small kolinsky... brushes that completely make the texture invisible. he was interested

in the pictorial surface, he was not interested in the plot, as we see, these stills, they are devoid of any symbolism, here you don’t seem to consider him some kind of person, they honestly call him a metaphysical painter, it seems to me that this is a very superficial judgment, well, how would it may explain some things, but not everything. in our exhibition, the last two halls are dedicated to these late works, these are halls that are built from... approximately the same size, as a rule, the floor gravitates towards a square, this is a meditative passage, each picture is such a portal to a special reality, which completely captivates you. i understand that i’m saying some strange things now, and once again i urge you to make sure of this red tape, because these are not plot things, these are all his steps on the way to that very harmony that can only be created on canvas, as... he believed, there is no harmony inside, there is no outside,

it exists only on canvas, these are his words, and we quote him to the audience. how did his contemporaries and colleagues treat him? well, what was his reputation? an absolute guru, he had disciples. in sixty years he began teaching, by the way, he began teaching in the field of television, yes, he taught television courses for 2 years, and in the same year he began teaching at school in advanced training courses for architects. v in essence, everything that vesberg said was written down by his students, he left almost no notes except for some workers, yes, yes, such a virgil, already there in the seventies, when there were more exhibitions, they saw him, they saw him as such a seer, they saw him in general, and where he exhibited, he exhibited at discussion exhibitions, at first in georgian, small georgian, no, he exhibited at vavilov, yes, that’s another story, but georgian too, but not so often, mainly in the exhibition halls of moskhon , vavilova. group exhibitions, there were some apartment exhibitions,

collectors loved him, he was in the collections of foreign ones , there is a well-known story, a very interesting one with an envoy, with an envoy from the cultural scene of france, stepan tateshchev, a representative of a famous russian family, who visited his workshop and acquired several works, and his assistant, she just completely fell in love with weisberg, she put together a whole collection, collected costakis, so we have photographs, maybe we ’ll even show them, where he is among other masters who came to him on his such famous home assemblies, and right there at the top we see weisberg, in the center is georgy denisovich kostakis, tell us who kostakis was?

kostaki was such a wonderful collector, a fanatic, passionate about absolutely russian art, not only contemporary. but the russian avant-garde, the man who discovered the russian avant-garde, and where did he come from anyway? he was greek by nationality and worked at the greek embassy, ​​his family came to russia shortly before the revolution and he served in the fifties and sixties embassy as, if i'm not mistaken, a caretaker, a driver, in general, he observed life from side to side, he was not directly in the diplomatic corps, since he was a diplomat, as we already know, but in the case. also, for example, they, of course, looked at art, visited flea markets, and he took a closer look and so formed his taste, trained his eye, and his eye allowed him to find masterpieces by lyubov popova, for example, yes, to dig them up somewhere there at the dachas of the heirs , klyun and other artists, at the end of the seventies he

wanted to return to his homeland historical, and he was released, released only on one condition, that part of the collection would remain in the ussr in the tretyakov gallery, now in the tretyakov gallery, as you know, there is a collection of works by castakis, there is a whole costakis hall, he took part of the work, and this allowed in the salon make his successor the costakis museum, where the russian avant-garde is also exhibited, and of course he loved contemporary artists, who actually saw him off, this is just the stage, photography, and seeing off castakis to greece, and this is also here... .

chudetskaya, with her help , a great gift came to the pushkin museum this year, this is her portrait from the late seventies, which , in principle, corresponds to the portrait concept that the artist worked on during, probably, the last 10-15 years of his life there, like this the self-absorption of the model, such meditative, absolutely iconography, it is characteristic of almost all portraits of this period, and of course, this became weisberg’s trademark, again, i urge everyone to look with their own eyes, because here it is not visible of that picturesque richness and absolutely perfect.

therefore, in his search, therefore , this kind of unpretentious name is very accurate, and what chudetskaya came up with, it basically explains the whole of weisberg, his path from color to light through this chromatic layout through complex dialogue, introspection, he was constantly engaged in self-reflection, he for he wrote down his fortunes, he carefully documented what he was doing, what he planned to do, all these materials they...