What is the real art gogol portrait. Composition reflection on the story of N.V. Gogol “Portrait

The story "Portrait" was written by Nikolai Vasilievich Gogol in 1842. The author uses traditional motif: money, wealth in exchange for the soul. It touches upon many problems: the struggle between good and evil in a person's soul, the power of money over a person, but the most important one is the problem of the purpose of art (art is true and imaginary). The story consists of two parts, in each of which there is an artist.
The first part tells about the young painter Chartkov. This is a very talented, but at the same time poor man. He admires the talent of great artists; he is offended by fashion artists, drawing their pictures, get a lot of money, and he must sit in poverty. But here it happens to him strange story. One day he went into an art shop and saw an unusual portrait. The portrait was very old, it showed an old man in an Asian costume. The portrait greatly fascinated Chartkov. The old man drew him to him; his eyes were especially expressive - they looked at him as if they were real. The young artist, without expecting it, bought this painting. After that, a strange situation happened to Chartkov: at night he had a dream that the old man got out of the picture and showed him a bag of money. This suggests that our young artist craves wealth and fame, there is already something demonic in his soul. Then, waking up, he finds money on a willow that would be enough for him for three years. Chartkov decides that it is better to spend them on canvases and paints, that is, for the benefit of his talent. But he is attracted by temptation: he breaks down and begins to buy a lot of things he does not need, rents an apartment in the city and buys himself fame in the form of a laudable article in the newspaper. He betrayed himself, his talent, became conceited; he does not pay any attention to the people who once occupied an important place in his life, including a teacher who advised him: "You have a talent; it will be a sin if you ruin it. See that you do not become a fashionable painter ... ". The article in the newspaper made a splash: people ran to him, asking him to paint their portrait, demanding this or that. Chartkov betrayed his soul and heart. Now he painted not so naturally, more similar to the person being portrayed, but as his clients asked: "one demanded to portray himself in a strong, energetic turn of his head; the other with inspired eyes raised upwards; the lieutenant of the guard demanded that Mars be visible in his eyes ... " After this, the artist's opinion completely changes, he is surprised how he could previously attach so much importance to similarity and spend so much time working on one portrait: "This man, who digs for several months over the picture, for me, is a worker, not an artist. I do not believe that he had talent. The genius creates boldly, quickly ..., argued that too much dignity was already attributed to the former artists, that before Raphael they all painted not figures, but herrings ... Mikel-Angel is a braggart ... ". Chartkov becomes a fashionable and famous rich man. The secret of his success is simple - catering to selfish orders and moving away from true art. Once he was asked to express his opinion about the work of a young artist. Chartkov was about to criticize his paintings, but suddenly he sees how great his work is. young talent. And then he realizes that he exchanged his talent for money. Then envy of all artists seizes him - he buys up and spoils their paintings. Soon he goes mad and dies.
The second part of the story tells about a completely different artist. A young man comes to the auction and says that he wants to take the portrait of the old man, which should rightfully be his. Here this poor young artist is telling a story about a certain moneylender. He was extraordinarily rich and could borrow money from anyone. But every person who borrowed from him ended his life sadly. One day this moneylender asked me to draw his portrait. The portrait began to be painted by the father of the artist who tells the story. But every day he felt disgust for the usurer, for his eyes in the picture were very expressive, as if alive. Soon the moneylender died. The artist realized that he had committed a great sin by painting a portrait of a usurer, because misfortune happened to everyone who fell into his hands. He becomes a hermit, goes to a monastery. Soon he painted the icon of the Nativity of Jesus, having spent many years here. In this way, he healed his soul: “No, a person cannot, with the help of one human art produce such a picture: the holy higher power led your brush, and the blessing of heaven rested on your work. After that, he bequeaths to his son, a young artist, to destroy the portrait that he once painted, the portrait of the devil himself.
Thus, we see in the poem two completely different artists whose fates are connected by one portrait. But in the first case, the artist goes from talent to death, and in the second - the path from committing sin to good. Gogol speaks of the artist's responsibility for his creation; the main goal of the painter is "to awaken good feelings." The author shows the reader what a real artist should be like: “whoever has talent in himself, he must be purer than anyone in soul.”

The vulgar and tragic face of St. Petersburg in the story of N. V. Gogol

Everything is not what it seems...

He lies all the time

this Nevsky Prospekt...

N. V, Gogol

As a young man, Gogol came from his native Little Russia to St. a short time managed to get acquainted with the life of the capital's officials and St. Petersburg artists - his future characters.

The writer seemed to repeat this route, transferring the "world" of his work from Dikanka and the Zaporizhzhya Sich to Nevsky Prospekt.

And now we have Nevsky Prospekt - "universal communication of St. Petersburg". At the beginning of the story of the same name, the life of this main street of the main city is shown at any time of the day. The picture is full of movement, but each face and different “circles and circles” has its own movement in its own hours; everything is united only by a place - Nevsky Prospekt. Here, too, "everything rushes", but in a different way than at the Sorochinskaya fair.

“Everything that you will not meet on Nevsky Prospekt ...”, namely: “You will meet the only sideburns here ... Here you will meet a wonderful mustache ...”. In these immoderate praises, expressed in superlatives, the reader hears falsehood. Behind the delight, we hear irony, and in the very intonation of praise on the first page of the story, we already hear what the author will say at the end: “Oh, don’t believe this Nevsky Prospekt!”. So immediately "the tone makes the music"; in this discrepancy between intonation and meaning, we immediately perceive "by ear" the discrepancy between the external and the internal - the theme of the entire story "Nevsky Prospekt". In the Petersburg Tale, a somehow strangely disturbed "proportion" catches our eye. The “wonderful mustache” representing “everything” stands out from the whole picture and takes up a huge place. And in general, on Nevsky Prospekt, instead of people, some external signs - appearance, position in society - grow and become “everything”. And since ideas of dignity, value and significance merge with everything that we see, this is the source of confusion and “nonsense”. The reader also feels disproportion in the author's narrative, as if the correct "proportion" is confused here too, the relationship of the part and the whole, the significant and the small, the important and the insignificant. Everything is possible in this world. In the narrative itself, we notice some strange logic: every now and then an important "everything" turns into an empty "nothing"; for example, about the talent of entrusted Pirogov to make girls laugh, it is said that “for this you need great art or, better to say, to have no art at all.

The “internal structure” of the world of St. Petersburg stories is revealed to us through the eyes of poor Piskarev: “It seemed to him that some demon had crumbled the whole world into many different pieces and mixed all these pieces senselessly, uselessly mixed together.” But the "demonic" picture is no longer a funny picture. Fragmented "fantastic" reality in Gogol has two sides, two faces: one of them is vulgar, comic, the other is tragic.

In Gogol's story there is Nevsky Prospekt day and night. During the day, it is an exhibition where "the only whiskers" represent the whole person. Evening illumination gives rise to new points of view and new problems. The artist Piskarev and Lieutenant Pirogov diverge from the evening lamp in different directions, forming two parallel plot lines, on the basis of which Nevsky Prospekt is built. One is attracted by beauty, the other by an affair; failure awaits both, and each in his own way experiences his defeat and finds his way out: one dies, the other continues to live, easily forgetting shame and disgrace over pies in a confectionery and evening mazurka.

Gogol gives a striking picture of the city at night, as he imagines the artist flying after his dream and fogged by this flight:

“The pavement rushed under it, carriages with galloping horses seemed to be motionless, the bridge stretched and broke on its arch, the house stood with its roof down, the booth fell towards it, and the sentinel’s halberd, together with the golden words of the signboard and painted scissors, seemed to shine on the very eyelash his eye." This world of St. Petersburg night fantasy also includes Piskarev's dream, the beautiful lady, the aesthetic illusion that so cruelly deceived him. At the conclusion of the story, the words “dream” and “deception” are combined: “Everything is a deceit, everything is a dream, everything is not what it seems!”. To understand Gogol, one must listen well to his extraordinary speech. In Nevsky Prospekt, it spreads into two streams moving in parallel channels of the plot. The author combines his voice now with the artist Piskarev, now with lieutenant Pirogov, and therefore in different places he says opposite things on the same topic and in a completely different tone; He openly speaks in the final monologue, “removing” both intonations he has assumed and summing up the parallel action with his own voice: “Everything is not what it seems ... He lies at all times, this Nevsky Prospekt ... ".

Pushkin found very true words when he called Gogol's "Nevsky Prospekt" the most complete of his works. In fact, this story combines Gogol's comedy and Gogol's lyrics, the vulgar and tragic face of Gogol's Petersburg.

The theme of art in the story "Portrait"

Who has the talent

he should be purer than all in soul.

N.V. Gogol

Probably the success of Pushkin's " Queen of Spades” prompted Gogol to tell his story about a man who was ruined by a thirst for gold. The author called his story "Portrait". Is it because the portrait of the usurer played fatal role in the fate of his heroes-artists, whose fates are compared in two parts of the story? Or because Gogol wanted to give a portrait modern society And talented person who perishes or is saved in spite of hostile circumstances and humiliating properties of nature? Or is it a portrait of the art and soul of the writer himself, who is trying to escape from the temptation of success and prosperity and purify his soul by high service to art?

Probably, there is in this strange story N.V. Gogol and social, and moral, and aesthetic meaning, is a reflection on what a person, society, art. Modernity and eternity are intertwined here so inseparably that the life of the Russian capital in the 30s of the 19th century goes back to biblical reflections about good and evil, about their endless struggle in the human soul.

We meet the artist Chartkov at that moment in his life when, with youthful ardor, he loves the heights of the genius of Raphael, Michelangelo, Correggio and despises handicraft fakes that replace art for the layman.

Seeing in the shop a strange portrait of an old man with piercing eyes, Chartkov is ready to give the last two kopecks for him. Poverty did not take away from him, but perhaps gave him the ability to see the beauty of life and enthusiastically work on his sketches. He reaches for the light and does not want to turn art into an anatomical theater, to expose the “disgusting person” with a knife-brush. He rejects artists whose "nature itself ... seems low, dirty," so that "there is nothing illuminating in it." Chartkov, according to his teacher in painting, is talented, but impatient and prone to worldly pleasures, fuss. But as soon as the money, miraculously falling out of the frame of the portrait, gives Chartkov the opportunity to conduct such a tempting social life and enjoy well-being; wealth and fame, not art, become his idols. Chartkov owes his success to the fact that, painting a portrait secular young lady, which turned out to be bad for him, he was able to rely on a disinterested work of talent - a drawing of Psyche, where the dream of an ideal being was felt, physically felt. But the ideal was not alive, and only by uniting with the impressions of real life did it become attractive, and real life acquired the significance of an ideal. However, Chartkov lied, giving the colorless girl the appearance of Psyche. Flattering for the sake of success, he betrayed the purity of art. And the talent began to leave Chartkov, betrayed him. “Whoever has a talent in himself, he must be purer in soul than anyone else,” the father says to his son in the second part of the story. Gogol writes a story that the artist, like all people, is subject to the temptation of evil, but destroys himself and his talent more terrible and faster than ordinary people. Talent that is not realized in true art, talent that parted with good, becomes destructive for the individual.

Chartkov, who for the sake of success conceded truth to goodness, ceases to feel life in its multicoloredness, variability, and trembling. His portraits console, entertain, "enchant" customers, but do not live, they do not reveal, but close the personality, nature. And despite the fame of a fashionable painter, Chartkov feels that he has nothing to do with real art, capable of elevating, purifying, moving towards the search for a new one ... wonderful picture the artist, who for several years, starving, experiencing deprivation, avoided all pleasures, studied in Italy, shocked Chartkov. But the shock he experienced does not awaken him to a new life, because for this it is necessary to give up the pursuit of wealth and fame, to kill the evil in himself. Chartkov chooses a different path, worthy of "insignificance from art": he begins to expel the divine from the world, buy up and cut magnificent canvases, and kill the good. And this path leads him to madness and death.

An artist who has touched evil, painted the usurer's eyes, which "looked demonically crushing", can no longer paint good, his brush is driven by an "impure feeling", and in the picture intended for the temple, "there is no holiness in the faces."

Gogol shows us three stories of different artists. There is a lesson to be learned from every story. They are known to have been endowed with a talent from God. But then God is powerless: everyone disposes of his talent as he wants and as he can. Everyone decides for himself what his talent will serve: good or evil. But, as I have already noticed, villainy and genius are incompatible things. What follows from this? And the fact that if an artist serves evil, then his genius, his talented beginning will certainly perish. Yes, it will help him achieve some goals, but at the same time, it will take away the most sacred from him. Chartkov chose evil. But, realizing this, he did not try to change, like the artist who created the usurer, but continued his "devilish" work - this time he began to destroy the works of those who did not betray their talent for the sake of the "golden god".

So, N.V. Gogol, with his story, claims that art brings not only good, but also evil. But at the same time, he says that art should carry the same as talent, exclusively good. Only in this case is it true, the talent is genuine and, therefore, the soul is pure.

The story "Portrait" was written by Nikolai Vasilyevich Gogol in 1842. The author uses the traditional motif: money, Wealth in exchange for the soul. It touches upon many problems: the struggle between good and evil in a person's soul, the power of money over a person, but the most important one is the problem of the purpose of art (art is true and imaginary). The story consists of two parts, in each of which there is an artist.

The first part tells about the young painter Chartkov. This is a very talented, but at the same time poor man. He admires the talent of great artists; he is offended by the fact that fashionable artists who paint their pictures get huge money, and he must sit in poverty. But here a strange story happens to him. One day he went into an art shop and saw an unusual portrait. The portrait was very old, it showed an old man in an Asian costume. The portrait greatly fascinated Chartkov. The old man drew him to him; his eyes were especially expressive - they looked at him as if they were real. The young artist, without expecting it, bought this painting. After that, a strange situation happened to Chartkov: at night he had a dream that the old man got out of the picture and showed him a bag of money. This suggests that our young artist craves wealth and fame, there is already something demonic in his soul. Then, waking up, he finds money on a willow that would be enough for him for three years. Chartkov decides that it is better to spend them on canvases and paints, that is, for the benefit of his talent. But he is attracted by temptation: he breaks down and begins to buy a lot of things he does not need, rents an apartment in the city and buys himself fame in the form of a laudable article in the newspaper. He betrayed himself, his talent, became conceited; he does not pay any attention to the people who once occupied an important place in his life, including a teacher who advised him: "You have a talent; it will be a sin if you ruin it. See that you do not become a fashionable painter ... ". The article in the newspaper made a splash: people ran to him, asking him to paint their portrait, demanding this or that. Chartkov betrayed his soul and heart. Now he painted not so naturally, more similar to the person being portrayed, but as his clients asked: "one demanded to portray himself in a strong, energetic turn of his head; the other with inspired eyes raised upwards; the lieutenant of the guard demanded that Mars be visible in his eyes ... " After this, the artist's opinion completely changes, he is surprised how he could previously attach so much importance to similarity and spend so much time working on one portrait: "This man, who digs for several months over the picture, for me, is a worker, not an artist. I do not believe that he had talent. The genius creates boldly, quickly ..., argued that too much dignity was already attributed to the former artists, that before Raphael they all painted not figures, but herrings ... Mikel-Angel is a braggart ... ". Chartkov becomes a fashionable and famous rich man. The secret of his success is simple - catering to selfish orders and moving away from true art. Once he was asked to express his opinion about the work of a young artist. Chartkov was about to criticize his paintings, but suddenly he sees how great the work of a young talent is. And then he realizes that he exchanged his talent for money. Then envy of all artists seizes him - he buys up and spoils their paintings. Soon he goes mad and dies.

The second part of the story tells about a completely different artist. A young man comes to the auction and says that he wants to take the portrait of the old man, which should rightfully be his. Here this poor young artist is telling a story about a certain moneylender. He was extraordinarily rich and could borrow money from anyone. But every person who borrowed from him ended his life sadly. One day this moneylender asked me to draw his portrait. The portrait began to be painted by the father of the artist who tells the story. But every day he felt disgust for the usurer, for his eyes in the picture were very expressive, as if alive. Soon the moneylender died. The artist realized that he had committed a great sin by painting a portrait of a usurer, because misfortune happened to everyone who fell into his hands. He becomes a hermit, goes to a monastery. Soon he painted the icon of the Nativity of Jesus, having spent many years here. In this way, he healed his soul: “No, it is impossible for a person, with the help of human art alone, to produce such a picture: the holy higher power led your brush, and the blessing of heaven rested on your labor.” After that, he bequeaths to his son, a young artist, to destroy the portrait that he once painted, the portrait of the devil himself.

Thus, we see in the poem two completely different artists, whose fates are connected by one portrait. But in the first case, the artist goes from talent to death, and in the second - the path from committing sin to good. Gogol speaks of the artist's responsibility for his creation; the main goal of the painter is "to awaken good feelings." The author shows the reader what a real artist should be like: “whoever has talent in himself, he must be purer than anyone in soul.”

The story of N. V. Gogol Portrait consists of two interconnected parts. The first part of the story tells the viewer about a young artist named Chartkov, who one day, going into an art shop, discovers an amazing portrait. It depicts an old man in some kind of Asian costume, and the portrait itself is old. But Chartkov is simply struck by the eyes of the old man from the portrait: they possessed a strange liveliness; and destroyed the harmony with their reality. Chartkov buys a portrait and takes it to his poor house. Meanwhile, Chartkov's dream is to get rich and become a fashionable painter. At home, he examines the portrait better, and sees that now not only the eyes are alive, but the whole face, it seems as if the old man is about to come to life.

The young artist goes to bed, and he dreams that the old man got out of his portrait, and shows a bag in which there are a lot of bundles of money. The artist discreetly hides one of them. In the morning he does discover the money. What happens to the main character next? Chartkov hires new apartment, orders a commendable article about himself in the newspaper and begins to paint fashionable portraits.

Moreover, the similarity of portraits and customers is minimal, since the artist embellishes faces and removes flaws. Money flows like a river. Chartkov himself wonders how he could previously attach so much importance to similarity and spend so much time working on one portrait. Chartkov becomes fashionable, famous, he is invited everywhere. The Academy of Arts asks him to express his opinion about the work of a young artist. Chartkov was about to criticize, but suddenly he sees how magnificent the work of a young talent is.

He understands that he once traded his talent for money. And then he is possessed by envy of all talented artists - he begins to buy best paintings with one purpose: to come and cut their houses to pieces. At the same time, Chartkov constantly sees the eyes of the old man from the portrait. Soon he dies, leaving nothing behind: all the money was spent on the destruction of the beautiful paintings of other artists.

In the second part of the story Portrait, the author talks about an auction where a portrait of an old man is being sold. Everyone wants to buy strange picture, but the other one person, saying that the portrait should go to him, because he had been looking for it for a long time. The person who bought the portrait tells incredible story. Once upon a time, there lived in Petersburg a certain usurer, who was different from other opportunities to lend any amount of money. But a strange feature - everyone who received money from him ended his life sadly. A certain young man patronized the arts and went bankrupt. He borrowed money from a usurer, and suddenly began to hate art, began to write denunciations, everywhere he saw the impending revolution.

He is punished, exiled and he dies. Or - a certain prince falls in love with a beauty. But he cannot marry her, because he is ruined. Turning to the usurer, marry her and becomes jealous. Somehow he even rushes at his wife with a knife, but in the end he stabs himself.

The father of the man who bought the painting by the artist. Once the moneylender asked to portray him. But the longer he draws, the more disgust he feels for the old man. When the portrait turns out to be painted, the usurer says that he will now live in the portrait, in the evening next day dies. Changes are taking place in the artist himself: he begins to envy the talent of the student ... When a friend takes the portrait, peace returns to the artist. It soon turns out that the portrait brought misfortune to a friend, and he sold it.

The artist understands how much trouble his creation can bring. Having accepted, tonsured a monk, bequeathed to his son to find and destroy the portrait. He says: Whoever has talent in himself must be the purest of all in soul. People listening to the story turn to the portrait, but it is no longer there - someone managed to steal it. Thus ends the story of N.V. Gogol Portrait.

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Nikolai Vasilyevich liked to dream up in his stories, to create a mystical plot, as can be seen from his famous stories"Viy", "Evenings on a farm near Dikanka". But if here the reader has to plunge into the fictional world of a folklore character, then Gogol's "Portrait" shows that the author wanted to transfer fantasy to social phenomena. In this, Nikolai Vasilyevich reminds many foreign writers, in whom the "supernatural" captures the world. In our case, money is evil.

Internal confrontation between wealth and talent

At the beginning of the story, a young, promising artist Chartkov appears before the reader. He is poor, therefore he envies the fate of painters who should paint a few pictures in order to bathe in luxury. The young man grumbles at his fate, because he has to live in obscurity and poverty. And here Gogol creates an atypical and completely fantastic situation. Analysis of the work "Portrait" shows the gradual transformation of Chartkov from talented artist into an envious and greedy man who ruined his talent.

In a shop in Shchukin's yard, the artist finds a mysterious portrait, which, as a result, becomes a source of his enrichment. The picture contains a particle of the diabolical soul of the usurer Petromichaly. At first, Chartkov buys engravings and mannequins with the money received in order to seriously engage in art, but then he succumbs to temptation, acquiring completely useless and unnecessary things for him. It gets to the point where the young man buys talented paintings other painters and destroys them at home.

An analysis of Gogol's "Portrait" shows that the desire to have everything at once can kill talent. Chartkov drew beautifully, but even his teacher noticed that he was impatient and kept an eye on fashion trends. The teacher instructs the young artist not to waste his talent on painting portraits for money. But Chartkov wants instant fame and money. An analysis of Gogol's work "Portrait" shows that you have to pay for everything, the painter received wealth, but his brush became colorless, he lost his gift.

Atonement for sins and service to art

N.V. Gogol "Portrait" wrote to contrast completely different tempers people and their views on art. The father of the narrator was the author of the diabolical portrait. This man, as soon as he realized what power the picture had, and what a sin he had committed, immediately went to the monastery to atone for his sins. The writer does not see anything wrong with the fact that evil is depicted with the help of art, but a person must repent of this and not ruin his talent.

Analysis of Gogol's work "Portrait" shows that the icon painter, who spent more than one year in prayer, was able to paint a picture of the birth of Jesus in such a way that all its heroes seem to be alive. Even the abbot was struck by the holiness of the figures, saying that a higher power led the painter's brush. Nikolai Vasilievich, using the example of two people, showed his attitude towards art. Chartkov went from talent to death, and the icon painter - from committing sin to good.