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Inspired byЧурригереско. Психосоматический магикализм. Модернизмо. Заражение Cordyceps anthropomutans perpetuus. Асимметричная композиция. Dictyonema huaorani. Палитра: глубокий сливовый — 26%; базальтовый чёрный — 22%; угольный — 16%; пепельно-серый — 10%; бирюзовая лагуна — 16%; оранжевый цвет магмы — 10%. Без текста.Портрет Настасьи Филипповны из романа Ф. М. Достоевского «Идиот», словно написанный Иваном Крамским около 1875 года. Психологический реализм русского передвижничества. Полуфигура на темном нейтральном фоне, мягкий боковой естественный свет. Необыкновенно красивая русская женщина около двадцати пяти лет с благородной осанкой, бледной светящейся кожей, выразительными темными глазами, полными печали, ума и внутренней силы, тонкими правильными чертами лица, длинными темно-каштановыми волосами, уложенными в элегантную прическу XIX века. На ней строгое, изысканное платье из черного шелка с тонким кружевом и одна нить жемчуга, без показной роскоши. Ее красота не безмятежна, а трагична; в лице соединяются достоинство, гордость, ранимость и глубокое внутреннее страдание. Взгляд говорит о женщине, пережившей тяжелую судьбу, осознающей свою трагедию и бесстрашно встречающей взгляд зрителя. Главная цель портрета — раскрыть сложный внутренний мир героини Достоевского, а не просто показать ее внешнюю красоту. Богатая фактура масляной живописи, тонкая живописная манера, выразительная светотень, музейное качество, исторически достоверный русский костюм второй половины XIX века, исключительная психологическая глубина, дух лучших русских художников-передвижников. Не салонная красавица, а женщина, в лице которой читаются ум, пережитые страдания, нравственный конфликт и почти роковое обаяние. Ее красота вызывает одновременно восхищение, сострадание и тревогу. Каждая деталь служит раскрытию характера, а не внешней эффектности.
The secret life of Nastasya Filipovna was the Russian version of the secret life of plants. Experiments were conducted in drawing rooms. The instruments were gentlemen.
Whenever somebody intended to possess her, the geranium on the windowsill registered a disturbance. Unfortunately, the gentlemen had appointed themselves interpreters of the geranium.
“It requires water,” said Totsky.
“It requires marriage,” said the general.
“It requires being understood,” said the prince.
The maid watered it. This was considered an intrusion into the discussion.
Nastasya sat in black silk, wearing a small necklace of pearls. Every pearl had been irritated into existence. She liked this about them.
A commission was established to determine whether she was innocent. To avoid prejudicing its findings, it began by accepting that she was guilty. Her innocence would then be measured by the distance she had travelled from the commission’s original conclusion.
“May I leave?” she asked.
The secretary recorded: Subject exhibits resistance to rehabilitation.
At night she spoke to the plants. She did not tell them her troubles. People had been telling the plants their troubles for centuries, then expressing astonishment when the leaves fell off.
Instead, she asked what they wanted.
The ivy wanted the curtain rod.
The geranium wanted the general moved out of the light.
A small, apparently dead bulb wanted another week.
These requests seemed reasonable. She granted all three and acquired a reputation for caprice.
Rogozhin arrived with money. He placed it on the table as though feeding something dangerous through the bars of a cage.
“For you,” he said.
“What part of me?”
He looked at the money. It had failed to specify.
Meanwhile, the commission discovered roots beneath the floorboards. They led from her chair into the foundations, under the street, and into the rooms of people who had never met her but nevertheless held firm opinions about her character.
A gardener was summoned.
“An extensive system,” he said.
“Can it be removed?”
“Certainly. But you will lose the house.”
The commission dismissed him for exceeding his competence.
That evening Nastasya put the money into the fire. Everyone watched the flames. For several minutes she enjoyed the extraordinary privacy of being in a room full of people who were looking at something else.
Then she opened the window.
“You will catch your death,” somebody said.
She lifted the geranium from the sill and set it where the general had been sitting.
In the morning there would be a meeting about this.
