Painting landscapes and simple sketch motifs. Painting landscapes and simple sketch motifs Picturesque sketch of a landscape at different times of the day

Lesson developments (lesson notes)

Basic general education

UMK line S. P. Lomova. art (5-9)

Attention! The site administration is not responsible for the content methodological developments, as well as for compliance with the development of the Federal State Educational Standard.

The purpose of the lesson

Learn to convey space in the landscape at different times of the year.

Lesson Objectives

To update knowledge about landscape as a genre of painting. To study types of landscape. To become familiar with the techniques of conveying the color scheme and color scheme of different seasons in landscapes. To learn how to carry out sketches of landscapes at different times of the year and to convey space in them.

Activities

Perception of phenomena and objects of art. Analysis of works of art. Summarizing the concepts of “landscape”, “types of landscape (landscape, rural, urban, sea, industrial, space)”; “color and color scheme of the landscape”, “space in the landscape”, “aerial and linear perspective”. Visual activities(painting), drawing from imagination.

Key Concepts

Landscape, types of landscape (landscape, rural, urban, sea, industrial, space), color and color scheme of the landscape, space in the landscape, aerial and linear perspective, sketch.

Working on landscapes using technology watercolor painting described in detail in the special manual “Watercolor”, authors G. B. Smirnov and A. A. Unkovsky (“Enlightenment”, 1964). Therefore, in this manual we limit ourselves to a description of working on landscapes using the technique of oil painting.

In order to write landscape sketches, you need to have a sketchbook with all the necessary accessories, a folding chair, an umbrella, primed sheets of cardboard or canvases on stretchers. If the sketchbook does not have retractable legs, then for large canvases you need a lightweight folding easel.

A novice artist is attracted to many objects. Nature captivates with its beauty, you want to write everything, in a word, you want to “embrace the immensity.” However, you need to be able to calculate your strength and set a specific task. To begin with, we recommend making two small studies a day with a specific goal - to convey the state of nature using large tonal relationships.

When choosing a landscape motif, many things can attract attention: lighting, color and tonal relationships of sky and earth, the nature of vegetation, the relationship of its large masses with smaller ones, a certain weather condition, for example, a calm morning, a bright afternoon with contrasting chiaroscuro, or subtle relationships of cloudy, “gray” "or "silver" day.

It is important to always keep in mind what struck you at the first moment. Having outlined on cardboard with a stick of charcoal the relationship between earth and sky, the drawing of the largest masses, you need to take a closer look and try to more accurately determine the general tone that will characterize this state of nature. It is immediately necessary to determine how much darker one part of the landscape is in relation to another, what is the darkest, what is the lightest. Correctly found tonal relationships are the basis that will help convey the state of nature.

You need to start writing with the main subjects in terms of tone and color. In most cases, you have to immediately take the relationship of the tone of the earth, forest or buildings in the background to the sky. If in the foreground of the chosen motif there is a tree trunk or other large object, then it is necessary to take the relations of the foreground, earth and sky, but in each specific case you need to decide for yourself where it is more expedient to start determining the pictorial solution. It is necessary to take into account that lighting in nature changes quickly, tonal and color relationships also change, and therefore you cannot count on a long session. On a gray day, a sketch can be written for a relatively long time, and on a sunny day, in the morning or evening, no more than an hour and a half. On a clear afternoon, relationships do not change so quickly, which allows you to work for two to two and a half hours. At sunset or sunrise, when a thunderstorm is approaching, etc., you can only write quick sketches.

In addition to the fidelity of tonal relationships, it is also necessary to take care of color saturation and its activity. Inexperienced artists often paint in a gray color or heavily blacken shady places,

At the beginning of training landscape painting It is recommended to write one-session sketches. The size of one-session sketches should not be large. It is most convenient to write them on primed cardboard mounted on the inside of the sketchbook lid. A landscape sketch is often painted with a thin core brush. The paint should be thin and dull in color (one of brown paints or ultramarine, but in no case black). It should be remembered that the pencil or paint of the design will mix in when applying color and make it dirty. In drawing you need to achieve correct definition proportions and structural structure, but you should not reduce it with unnecessary details that will hinder the work with a brush.

Before starting work, you should try to mentally “see” the completed sketch and think about how best to determine the basic color relationships. You cannot paint only one part of the sketch until the end, when the color layout of the others is not determined large surfaces. The color of the sky has a great influence on the color. It especially noticeably affects the color of those shadow surfaces on which its reflexes fall. On those surfaces where the reflections of the sky do not fall, the influence of light rays reflected from the ground, buildings, and trees is visible. When small clouds float across the sky, their shadows will be visible on the ground. The foreground can be shaded while the distance is illuminated or vice versa.

A novice landscape painter is often confused by the variability of lighting, but one must firmly adhere to the distribution of light and shade established at the beginning of the sketch. White snow, white clouds and white walls cannot be painted with just white paint, since one or another color characteristic of each surface will depend on the lighting and the influence of color reflexes. In cases where it is necessary to convey a mass of thin branches without foliage against the background of a light sky, you can first “pave” them in the right color, and make gaps on top with small strokes.

When writing a sketch, you need to pay attention to the variety of characteristics of the “touches” of the depicted surfaces. To convey the air environment, you cannot sharply delineate the boundaries of objects, as this will destroy the inherent softness of nature. But at the same time, sometimes it is necessary to reveal a clear silhouette of a dark tree against the sky or other tonal contrasts. A soft “blur” of color tones characterizes a foggy day, while the clarity of the sculpted shapes of objects is characteristic of dry sunny weather. In the foreground, the direction of the strokes should clearly reveal the sculpting of the form.

Reflections in calm water are often painted with vertically directed strokes. There can be no ready-made recipes; in each individual case, you need to think about which direction of the stroke will help better convey nature. You just can’t allow a random, chaotic accumulation of strokes.

The image of clouds occupies a large place in landscape paintings. The shapes of clouds are very diverse, and the artist must study their structure well. Clouds can have vertical and horizontal development, located in the upper, middle or lower tiers.

Cirrus clouds are very high and look like light strokes, as if drawn on a clear blue sky, or resemble feathers arranged in a fan. They are arranged in stripes and, according to the laws of perspective, appear to converge on the horizon at the vanishing point. There are no shadows on cirrus clouds, as they are transparent and sometimes have a silky sheen. They consist of very small ice crystals, and their transparency depends on the relatively sparse arrangement of ice particles. When cirrus clouds cover the sun, they slightly weaken its light, but the solar disk is still visible. Before sunrise and sunset, painted in orange and pinkish tones, they are brightly lit at a time when it is already dark on the surface of the earth. During the day, cirrus clouds near the horizon have a slightly yellowish color, which is explained by a large layer of air separating them from the viewer. Borders cirrus clouds vague, without sharp outlines. Sometimes cirrostratus clouds resemble a light veil that gives the sky a milky tint without completely covering sunlight.

Altocumulus clouds look like ridges consisting of small lumps. Depending on the thickness of the layer, the color of the clouds changes from light to dark. Between individual clouds, gaps of clear sky are visible. Sometimes ridges of dark-colored altocumulus clouds can be seen against the background of lighter cirrostratus clouds. Often several layers of altocumulus clouds can be observed, having different color and tonal relationships. It depends on their lighting conditions.

Altostratus clouds can form a thick, monochromatic blanket in the sky. Stratocumulus clouds often cover the entire sky, but the thickness of the cloud layer varies and forms a "wavy surface" with alternating light and dark tones. Such layers of clouds can often be seen in winter.

At sunset, the so-called evening stratocumulus clouds, which have flat, elongated shapes, form. Dark nimbostratus clouds produce uniform tones throughout the sky. These clouds are characteristic of cloudy rain.

When the sun is hidden by a thick cover of stratus clouds, the sketch can take a long time to paint, since the lighting conditions change little.

Dense cumulus clouds increase vertically, develop in clear weather and have the appearance of snowy mountains or fantastic towers. On such clouds, in lateral light, brightly illuminated and shadow surfaces are observed, revealing their relief. Cumulus clouds have dome-shaped tops and their bases are horizontal. The lower surfaces of cumulus clouds vary in color because they receive reflections from the ground's grass, dense forests, or sandy desert. Sometimes a cumulus cloud, developing vertically, turns into a thunderstorm, looking like a giant anvil. From above, such a cloud loses its clear outline. Beneath its base, very low, broken clouds of other tonal characteristics form. When a cumulus cloud covers almost the entire sky, the observer can only see its base, which resembles nimbostratus clouds. Cumulonimbus clouds produce fast-moving showers that are visible from a distance as a dark curtain between the lower surface of the cloud and the ground. The leading edge of a large thundercloud often separates into a shaft of darker color and is visible against the background of a towering light-colored cloud tower. The external outlines of clouds, with the ability to observe them in nature, make it possible to understand the direction of air flow and the direction of the wind.

In order to study various cloud structures, it is recommended to perform more sketches and one-session studies. We must learn to coordinate the shapes and color tones of the clouds in the landscape with the overall composition and color.

The inserts show the sequence of work on the landscape sketch. The first stage of the work is the execution of a pencil drawing, on which the composition is determined and all elements of the landscape are marked. The etude format is chosen to be vertical. The horizon line is taken below the middle of a sheet of cardboard, the trees are placed at different distances. Already in the initial markup it is shown different characteristic the shape of each tree. The second stage of work is determining the basic color and tonal relationships. The relationship of the trees in front, as well as the distant forest, to the sky and to the ground is taken. The third stage is general registration. The entire surface of the cardboard is covered with paint. At this stage we received further development the previously outlined relationships between the tree in the foreground and the trees located in the depths of the picture, the relationships between the clouds at the horizon and in the upper part of the sketch are defined. A spatial solution of the foreground and background plans of the earth has been revealed. The last stage corresponds to the degree of completion that can be achieved in a one-session sketch. We recommend paying attention to the fact that each tree has its own color and tonal characteristics, and also consider how the details are conveyed: bark, some branches, rays of grass on the ground, etc. In the last stage of the work, the artist’s main attention was focused on the final generalization tonal and color relationships.

It must be remembered that the main task in the sketch is to study nature, color and tonal relationships that characterize nature at different times of the year, under different weather conditions. Working on a sketch requires direct observations. Fragmentation and incompleteness of details are excusable here.

Having accumulated some skills in landscape painting while performing small short-term sketches, you can move on to working on large and more complex sketches in composition, designed for two or three sessions.

Before starting a long sketch, it is useful to make several preliminary sketches, compose the image, and highlight the compositional center. You can’t rush to complete a drawing for painting. It is necessary to carefully draw all the characteristic forms in it, to trace the plastic relationship of large and smaller masses of vegetation.

Underpainting, that is, a wide covering of the canvas with paints, is better to start with the largest and clearest areas of nature. We advise you to start writing liquidly and avoid white in the shadows, which will allow you to achieve the necessary saturation of color relationships. After the first session, the canvas needs to be dried, as it is better to paint on a dry underpainting. Before the next session, it is recommended to wipe the dried surface of the canvas with a cut of an onion. In the second session, you can paint impasto, but without being distracted by small details, trying to maintain the harmony of color and tonal relationships that distinguishes the chosen landscape motif. When working on the shape of trees, leaves and other elements, you need to think about the meaning that this or that element has in the overall color structure of the canvas.

In the next session, which may be the last, we recommend working either on a non-dried layer, that is, the next day, or on a dry layer, but in no case on a half-dried layer, since in this case the colors will fade and they will fade. Working on identifying forms, it is necessary to achieve truthfulness in the depiction of nature. At the end of the work, you need to summarize some details if they “fall out” of the general order, or strengthen them if they lack the activity of color and tone.

Two studies. The deadline for each sketch is painting lessons- two or three sessions. The first short-term sketches of landscapes gave you the opportunity to observe the nature of lighting and color features in a large open space. For example, your sketchbook, clothes, dress seem slightly different in color in the air than in the room. In the air, the color of objects seems purer, more transparent, richer shades. But at the same time, in the air we do not see sharp shades. On the contrary, all colors seem to soften in diffused light, as if they come closer to each other due to the presence of diverse reflections.

As the lighting changes, the color of the landscape changes noticeably. The reason for this, as you know, is that light has a color: at dawn - pink, on a sunny day - golden, and on a gloomy day - silvery, cold. Observing objects in the open air, you did not notice such dense, heavy objects on them. , opaque shadows, such as are found in a room where there is one source of light, where the space is relatively small and filled with things that do not allow light to pass through.

Picturesque landscape and sketch

In a landscape, on the contrary, the deepest shadow seems to be permeated with light - it is transparent, light, see-through, shimmering various shades. After all, even the ground in the open air reflects light, casting color reflexes on surrounding objects. The dome of the sky also sends reflexes, which are especially noticeable on the convexities of the ground and objects facing upward. The foliage of the trees shines through and casts greenish reflexes on the person located below, on the path trodden nearby - on everything that happens to be under the tree.
Impact air atmosphere extremely noticeable on objects located deep in space. A green oak grove appears in the distance, on the horizon, as a bluish or purple stripe, and light objects turn yellow and pink. This happens because there is a huge mass of air between our eyes and the distance.

The influence of the air atmosphere not only on the color of objects, but also on their volumetric form the stronger the further the object is from the observer. Therefore, it is necessary to distinguish between spatial plans - the first, second, third, the farthest - and by comparing objects of close and distant plans by color and clarity of outline, identify an aerial perspective. Without this, it is impossible to convey the depth of vast space. For of this assignment We advise you to choose a simple motive and work it carefully over two or three sessions. Make two sketches, write one on a cloudy (not very gloomy) day, and the other in the sun.

A sketch in cloudy weather can be written for about two to three hours, but on a sunny day you cannot work on the same sketch for more than an hour, since the lighting changes very noticeably and, at the same time, the direction and aperture of your own and falling shadows. Therefore, do not finish your sketches in one appointment at a time painting lesson, and in two or three sessions in several lessons. In this case, of course, you need to work at the same time, under the same lighting. You can paint the same house with a tree that served as a model for your task of drawing a landscape. You can choose another one simple motive: part of a collective farm yard, a corner of a city square, a porch with a front garden, etc. Start with a sketch on a cloudy day.

Choose a time when the landscape seems most interesting and expressive, but do not write at dusk, as it will quickly get dark, the colors will change and you will not be able to finish the sketch. Before starting work, carefully observe the nature, completely covering it with your gaze. Pay attention to the lighting - it is more diffuse and weaker than on a sunny day. Observe the aerial perspective - in the humid air of a cloudy day, the distances are hidden even more. Note that on a cloudy day, even very bright colors are softened. But at the same time, not a single color loses its expressiveness, but only seems darker than on a sunny day.

For example, White color on a cloudy day you won't see as much light and the darker colors won't contrast as much as they would in sunny conditions. On a cloudy day, there are no such chiaroscuro contrasts as in the sun. It is necessary to recall that the color of landscape elements in cloudy lighting is perceived even richer, in all the diversity of its warm and cold shades and halftones, very subtle and closely related to each other. This is explained by the fact that bright sunlight seems to “whiten” and “generalize” the color of the illuminated parts of objects. The overall coloring of the landscape on a cloudy day is calmer and colder than the golden coloring of a clear day.
When starting to write, as always, first find the composition of the sketch. Decide how much space the sky will take, how much land and buildings will take up, and how to place them on the canvas. Mark the location and dimensions of the main objects, build their three-dimensional shape.

Paint fairly large areas of the canvas at once, starting with two or three basic color relationships. Do not pay attention to the details at the beginning of work. Take the relation of the sky to the earth and terrestrial objects in lightness and shade of color. Find the relationship of spatial plans by color, starting with the foreground and comparing it first of all with the most distant plan. Write with deep attention to the characteristics of each color. Observe the relationship between shades of colors, being aware of the location in space of that part of the form whose color you are observing. For example, planes close to the ground will appear warm, earthy in color, as the reflection from the soil falls on them. On the contrary, shapes facing the sky will carry reflections of the color of the sky (observe the tops of trees, roofs of houses, hillocks and elevations on the surface of the earth, bulges of stones, top boards of a bench, etc.).

Maintain color relationships carefully. Mix paints with each other, persistently achieving the desired shade. Specify the lightness of each color and its shade in relation to other colors in the landscape. Having described the landscape in general, carefully trace the color of the shadows and their boundaries. But don’t make the boundaries sharp, convey gradual color transitions, follow what you see in nature. Do not mechanically draw contours with a brush, but try to sculpt the shape with color, conveying subtle differences in halftones. When writing down the details, take into account the overall impression, comparing each part on the canvas with others by color. Compare the sketch with life more often, moving away from it at a considerable distance. Paint the same landscapes in bright sunlight. Various conditions lighting will give you the opportunity to observe all the changes in the color scheme already familiar to you.

When working on a sunny day, first of all pay attention to the contrast of light and shade. Observe and embrace the contrasts between brightly lit landscapes and deep, highly reflective shadows. Shadows on a sunny day, as you already know, are the most saturated with color. They are deep, strong reflexes of certain shades are clearly visible in them. The cold reflections of the sky are strong in the shadows falling on horizontal surfaces. However, students coming to painting courses They often exaggerate the blueness of the reflexes, and the falling shadows turn out to be sharply blue and cold, as a result of which the sketches lose their warm, sunny flavor. This is a mistake: no matter how strong the reflexes, the own color of the shadows always takes precedence over them. Keeping this in mind, you need to more accurately find the color of the shadows. Be able to write shadows transparently (after all, they are permeated sunlight), otherwise the sketch will not be able to convey the radiance of the overall clear tone of the day. Despite all the definition and depth, the shadows do not have sharp outlines. Observe, for example, the shadow of a roof overhang on a white wall of a house. It is lush and transparent and contrasts strongly with the illuminated wall surface. In the depths of the shadow there is a strong color reflex from the bottom of the canopy. Its edges are blurry.

Please also note that the illuminated part of the wall is not pure white at all. Various reflections from translucent foliage, from the ground and other surrounding objects play on its surface. Whitewash cannot convey the power of light, although it is the lightest paint. The impression of sunlight is created only by correct identification light and shade and color contrasts.

Painting lessons In general, it is difficult to combine a constant explanation of certain subtleties of drawing a landscape or sketch. No one will stand over you constantly or in best case scenario will draw for you, that’s why we write similar articles for those who have not yet decided to take drawing and painting courses with us, and just want to try themselves at home. Our advice is to compare the color of the sky in the sky and its color at the zenith, find the difference in shades between one and the other place in the sky (where it is warmer, where it is brighter). Don't paint the sky with the same color. It is also necessary to distinguish the color of that part of the sky that is closer to the sun from the color of its part more distant from the sun.

Clouds located opposite and to the side of the sun are warm and bright in color. But it would be a mistake to paint them in the same strong tones as the objects in the foreground. Observe the color of white fabric in the sun, compare with it the color of white clouds. Of course, the clouds will be darker, since they are significantly removed into space. Grass has many shades, you cannot paint it with the same color, you cannot overuse green paints. Look for the color of each plan in comparison with the shade of a similar, but brighter and more specific color place in the landscape. When finishing your sketches, check whether the features of cloudy and sunny lighting are correctly conveyed, and whether the color scheme of the sketch matches the color scheme of nature. See if you are too carried away by the details, if you have made a mistake in determining their tone and if they therefore do not violate the integrity of the sketch. In this case, summarize the sketch.

In any case, be confident in yourself, and if you find it difficult, call us for drawing courses and we will always help you 223 7490

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SEASONS

Nature sketches

January sketch

Enchantress in Winter
Bewitched, the forest stands,
And under the snow fringe,
motionless, mute,
He shines with a wonderful life...

Fedor Tyutchev

Have you ever listened alone to the frosty silence, when your eyes are blinded by the bright whiteness of the snow, covering endless fields with fluffy silver blankets? Spreading spruces, centuries-old cedars and slender ship pines, like sensitive sentries, froze at their post, protecting the wondrous nature. Everything around is white and white. And such piercing silence! Only occasionally, with a crystalline crack, will a heavy shaggy branch suddenly break off, throwing off a cap of snow covered with a blue ice shell of crust, and again... silence. You can’t hear the birds, you can’t hear the wind, which has nestled briefly in the thickets of a dense spruce forest. Everything seemed to freeze around! But you look a little more closely at the pure virgin snow and suddenly you notice fresh hare footprints recently dusted with snow. It can be seen that just a few minutes ago a white hare was weaving around the thick-trunked birch tree that had been gnawed from the bottom, skillfully tangling the tracks it left behind.
Nature sleeps, and only the crunch of boots hangs in the blue frosty haze. And at this very moment, alone with nature, you feel like a ruler, the master of this huge snowy kingdom. After all, the real owner of the taiga took a time out until spring, sleeps serenely in a warm den, reflexively sucking his paw. Therefore, out of the acuteness of my feelings, I leisurely rake up a handful of fresh, unstagnant snow, mold it into a weighty snow ball and... launch it into the crown of the tallest Christmas tree! She suddenly flinches from the blow she receives and... is generously showered with silver beads. And while I am spellboundly admiring this fabulous waterfall, a whole avalanche of snow falls on me from the top of the spruce tree, some of which falls down the collar of my jacket, and now a dozen cold streams are joyfully running through my hot body. Here's Charcot's shower for you! “Cool down,” as if warning the winter forest. And I cringe, internally agreeing with him. The winter forest is unpredictable! “There is no mercy in nature towards man: there is no point in expecting mercy from her. Man must fight it, and be merciful, and protect nature, since he is its conquering king.” (M. Prishvin).
Meanwhile, the January frost is getting stronger, stronger, crackling, clicking, swelling its angry cheeks. Its prickly, stinging needles persistently crawl under a thick jacket and sweater, chilling them to the bones. You have to dance and stomp in one place so as not to freeze at all. And I constantly rub the reddened and frost-covered tip of my nose with a soft mitten so that, God forbid, it does not turn white and lose its sensitivity. Even a muskrat hat with earflaps pulled down and tied with laces does not provide much protection from bitter cold. You can hear the wind awakening in the spruce forest, merciless to all living things, breaking through the warm fur with a howl and gusts.
And yet there is no greater pleasure than being alone with nature for at least an hour, in any weather! Honestly, these are moments of true pleasure! How is it sung in the song by film director Eldar Ryazanov? “Nature has no bad weather, every weather is grace! Whether it’s raining or snowing, any time of the year should be accepted with gratitude.” In my opinion, there is no better way to say it!...

January, 2011.

May sketch

The first thawed patches have dried up,
The nimble nightingale clicked.
A light blade of grass around the waist
An ant hugged awkwardly

Swinging between earth and sky,
Like a drop of sea on an oar,
He's never been this close
Neither to the sky, nor to the earth itself...

Vladimir Bespalko

I really love the spring forest, awakened after a long winter sleep. Remember how young composer Johann Strauss, taking a walk through the Vienna Woods, were the perky notes of his immortal waltz born? And the chirping of birds, and the crunch of dead wood, and the range of soft rustling sounds emanating from under the old cart, and the timid murmur of a brook - all this merged together into a friendly forest chorus...
And now! I’m standing in a forest clearing, surrounded by slender birch trees, dressed in such transparent clothes that everything in the forest can be seen through them, and I experience complete calm and tranquility. I admire the green young grass breaking through the ground warmed by the sun’s rays, and the small insects hurrying about things that are very important to them. Everything is interconnected in nature! A light rain has just passed, and the air is filled with the aroma of forest freshness... The bird cherry has blossomed and is already crumbling into white boils, followed by lush lilacs gathering their heavy clusters. But the beautiful daisy, nailed to the ground by the rain, rises... It pulls, exposing its orange core to the gentle rays of the sun in a round dance of snow-white petals. And I just want to remember my barefoot childhood, squat down in front of a simple flower and tell fortunes about the future, about the future paths and roads! But no, there is no place for sentimentality here! There is no point in guessing about the future. There is only eternity ahead with its mysterious periods and commas. And everything else has long been behind us...
And then the woodpecker knocked. His timid single blows on wood develop into the rhythm of Morse code: dot, dot, dot, short pause, dash, dash and then in a circle. And after him, the nightingale, echoing the woodpecker’s quiet beat, began to pour out its iridescent trill. The friendly bird chorus was picked up from afar by the cuckoo. “Kuk-ku, ku-ku, ku-ku...,” resounds melodiously over the forest. I would like to count the remaining years, but I don’t trust the bird. What's left is all mine! I switch my hearing to the murmur of water. It is clear water rustling in a crystal shallow stream. Making crafts from a piece of newspaper paper boat and I set him afloat...
Nature awakens, and with it, hope for tomorrow awakens. After all, spring is always the start for the wildest desires. Let those who think I am wrong throw a stone at me!

July sketch

Dressed in berries
In apples and plums.
The days have become beautiful.
So much color!
How much light!
The sun is at the top of summer.
V. Lanzetti

As I write these lines, I remember a song about Moscow to the words of the unforgettable poet and screenwriter Gennady Shpalikov. Remember his heartfelt lines about the rain, where after a summer downpour the Garden Ring sparkles like a wedding ring... So, I can safely say, I adore this kind of rain. No, don’t look at this picture through the glass window, but walk along a forest path, exposing your face and hands to the wind and rain, and your body slightly covered by a light T-shirt and shorts. At these moments it is very easy to think. Above you is a heavy, leaden sky, zigzags of lightning are throwing, summer thunder is roaring. And you go, wet to the last thread, but so happy! Your body may feel a slight chill, but how easy it is to breathe! And how freely one can think! Spurred by the splashes of rain, the brain begins to move violently, and now the outlines of one plot and another appear. Just have time to comprehend and place the right emphasis.
And then everything suddenly calms down. The flash of lightning and the menacing rumbles of thunder are instantly forgotten. Rare drops of rain hit the puddles, which promise to dry up soon. After all, the hot summer sun is already peeking out from behind the edge of the cloud, and the paths in the forest, accessible to the sun’s rays, are already swirling with barely noticeable warm fumes. And only goose bumps on the back and chest and a wet T-shirt annoyingly stuck to the body cause slight irritation that disturbs mental comfort. I stand under a spreading linden tree, take off my wet clothes, wring them out to the last drop and, putting on only damp shorts, continue on my way. The sun has finally rolled out completely, the chills have stopped, and I, raising my palms up, welcome the generous rays of the sun that have appeared. How good it is that the middle of this wonderful time has only just crossed its rubicon. And this means that summer will not end for a long time, and although not all, I still have a lot ahead of me. Unrealized creative plans too. That's why it's summer, capable of presenting mostly pleasant surprises... A very beloved and long-awaited time of year.

July, 2008.

Autumn sketch

The golden grove dissuaded
Birch, cheerful language.
And the cranes, sadly flying,
They don't regret anything anymore...
Sergey Yesenin.

Golden autumn comes in different ways in Krasnoyarsk. And now it’s the second ten days of the month. Bright sun and transparent sky, across which clouds, freshly washed after another rain, float. Quiet. Only insects invisible to the eye are ringing somewhere, and light azure hangs between multi-colored, lacy leaves, trees. Crimson maple leaves rustle underfoot. And I remember the words from the famous song: “Scattered autumn forest Rubles are rubles, just collect the gold with a rake. And the girls are all stupid, give them love instead of gold!”
I bend my back, grab a bunch of withered leaves with my palms and throw them up. This is how I salute the years I have lived. Here comes another step towards eternity. Born under the constellation Virgo, September became the measure of my age. And again I look, peer into the sky. A wedge of cranes flew by. There's another one behind him. Birds fly to the southern regions to return here again in the spring. They, like us humans, live in hope. And the grass has already fallen to the ground, it is almost invisible under the cover of foliage. In the air there is a dance of once green shoots, transformed in autumn into golden twisted splashes. Any time of year is beautiful in its own way.
And it happens that in the morning and throughout the day a tedious gray rain will charge, but my soul quietly rejoices that it is able to hide in the body, like in a safe house, and wait out the bad weather there. She feels comfortable and calm in it. Again, thoughts rush in one after another and fall onto the paper line by line. Just make sure to write it down! And the rain drums on the glass of the windows, washes them, promising the next sunny, dewy morning, a warm and humid autumn day. And again the wind will sigh, flirt with the young aspen trees, pluck bright red coins from them, and chase them like golden fireflies along forest paths. And my soul will again be light and calm.
For creative trips around the world I prefer late spring, for seaside holidays - summer, but for writing there is no better time than autumn or winter. No wonder the great poet called the Boldino autumn the most prolific period in his life. short life. Autumn excites and hurries. There is a lot to be done and accomplished in this busy life. In other words, autumn is not a launching pad for the accomplishment of grandiose plans, but most likely a finishing one for summing up the preliminary results of what has already been accomplished! That is why this golden time of year, in my personal perception, is also filled with deep philosophical meaning: autumn comes and goes, but life, ebullient, life in full swing, continues...

September 2012.

Reviews

Hello Boris Mikhailovich! I enjoyed reading your miniatures about the seasons. Very lyrical. With a slight minor note.

I paid attention to Prishvin’s quote. It clearly sounds famous saying Ivan Michurin. I wasn’t too lazy to go online. True:

//I read in the tear-off calendar: “There is no mercy in nature, a person should DEMAND from it not mercy, but...” (Michurin).

There is no mercy in nature towards man: there is no point in expecting mercy from her. A person must fight it and BE MERCIFUL, AND PROTECT NATURE, since he is its victorious king (Prishvin).//

This is all Prishvin, a singer of nature and a subtle observer. and “Our task, according to Michurin, is not to take them from her,” but to be merciful and protect nature. A completely obvious reaction to Michurin’s somewhat extremist, ingrained statement. The Bolsheviks saw this as a suitable slogan and began to CONQUER nature. Conquer the North, the taiga, regulate river flow where it is necessary and not necessary. Now we all see what conquest leads to. Forests are disappearing, water bodies are being polluted... And they are trying to justify all this as the inevitable consequences of technological progress. But it’s time to live in harmony with nature, stop conquering it. Man is only a particle of this race, a particle of the biosphere. Due to the nature of my profession, I had to travel a lot around the world and see many examples of human barbarity.

Let me congratulate you on the upcoming NEW YEAR. We wish you good health and fruitful creativity.
With respect