ART OFF THE SURFACEš
- Daria Scherbakova
- Nov 18, 2019
- 6 min read
Updated: Dec 7, 2019

The idea here was that now art wasn't an object, but an object itself. As independent from nothing as, say, a sofa. Only functionally useless. Bringing information only about himself and the things from which this object of art was made. [1]

In early 1913-1914 V.Tatlin started experiments with abstract compositions at the junction of painting and sculpture. The author himself called them "picturesque reliefs", "material selection". He considered these works to be a turning point in his work. [2]

relief series 1917

In the pre-revolutionary years, Tatlin became interested in the problem of material in art. He argued that visual perception could not give a complete picture of the results of artistic work and therefore declared
distrust to the eye, put vision under control of touch. He set himself the experimental tasks on combinations of different materials (wood, metal, glass, cardboard, gypsum, etc.) in such a way that the properties of each of them were expressed in the form applied by the artist, in the work specific to this material, as well as - in color, texture.[3]


That's not what Tatlin's idea was about. His reliefs were tied to a plane, and the plane was another attribute of traditional art. And why is this attribute needed if the strategy of real, correct avant-garde is to remind as little as possible of such art? And Tatlin boldly expels this irritating and nasty attribute from his work. What has come out is called a counter-relief - the "exit" of the image from the plane of the painting into the real three-dimensional physical space in which the viewer is located.[1]

The counter-relief is a three-dimensional construction of various shapes - sections of cylinders, fragments of rectangular frames, strung on stretched ropes, fixed at one point.

Building materials - iron and glass - became a kind of spokesman for the new social order, as El Lisitsky later wrote: Iron is as strong as the will of the proletariat, clear glass as its destination.
In 1920, he wrote: "In our artwork in 1914... were the basis for the "material, volume and construction". By expressing distrust in the eye, we put the eye under control of the touch "
The counter-reliefs are the precursors of the most important works for constructivism. One of them was his project of the monument of the III International.

The Tatlin Tower was designed as a grandiose four-hundred-meter structure designed to house the main institutions of the world's future state. The main feature of Tatlin's project was that it conveyed the symbolic role of the openwork spiral metal construction. The supporting structure was not in the body of the building, but was exposed and placed outside. Actually functional glazed volumes are suspended in this design one above another: a cube, a pyramid, a cylinder and a hemisphere. The lower room (cube) is intended for International conferences, international congresses and legislative meetings, it makes one turn a year around the vertical axis. Average room (pyramid) makes one turn per month, here are administrative and executive bodies. The upper cylinder rotates at a speed of one revolution per day and is designed for the Information Center
The next in the list of the most significant creatures of Tatlin, which can be safely attributed to a number of works beyond the control of the plane, is Letatlin.

That's how Tatlin explained the appearance of his work:
I developed the flying machine as an object of artistic construction because it is the most complex dynamic material form that can be used by the Soviet masses as an object of widespread consumption... A flying machine is a form that meets the need of the moment to overcome space.

Since 1919. V. Tatlin heads a workshop in the transformed Academy of Arts in Petrograd. His workshop worked under the banner of "Construction, volume and material". Instead of easels, paints and brushes, the workshop had a workbench, locksmith's machine, anvil and various tools. Under Tatlin's guidance, compositions of metal, wood, mica, etc. were created there.[2]

One could say that one of the main meanings of Tatlin's work was the aggressive development of space. At first he was in the illusory space of the painting. Then, in the reliefs, he came out of it in one direction - towards the viewer. Then he created real three-dimensional objects - counter-reliefs. Then he came out of the gallery space into the space of life - this is his tower. And finally, he invaded the air space. This is understandable - avant-garde is so aggressive, and the utopian - even more so.[1]
SOURCES:
Author: Vadim Kruglikov
Year: 2012
Title:Vladimir Tatlin. Avangardism as not an art form
Author: Khan-Magomedov S. Š.
Title: Architecture of the Soviet Avant-garde : Book One. Problems of form formation. Masters and currents.
Publishing house: Moscow. Stroyizdat
Year: 1996
Title:Soviet architects Tatlin Vladimir Evgrafovich
Retrieved from http://famous.totalarch.com/tatlin
ŠŠ“ŠµŃ ŃŃŃ Š±ŃŠ»Š° в ŃŠ¾Š¼, ŃŃŠ¾ ŃŠµŠæŠµŃŃ ŠøŃŠŗŃŃŃŃŠ²Š¾ не ŠøŠ·Š¾Š±Ńажало ŠæŃеГмеŃ, а ŃŠ°Š¼Š¾ Š±ŃŠ»Š¾ ŠæŃŠµŠ“Š¼ŠµŃŠ¾Š¼. Таким же Š½ŠµŠ·Š°Š²ŠøŃимŃм ни Š¾Ń ŃŠµŠ³Š¾, как, ŃŠŗŠ°Š¶ŠµŠ¼, Гиван. Š¢Š¾Š»ŃŠŗŠ¾ ŃŃŠ½ŠŗŃŠøŠ¾Š½Š°Š»ŃŠ½Š¾ Š±ŠµŃŠæŠ¾Š»ŠµŠ·Š½ŃŠ¼. ŠŠµŃŃŃŠøŠ¼ ŠøŠ½ŃŠ¾ŃŠ¼Š°ŃŠøŃ ŃŠ¾Š»Ńко о ŃŠ°Š¼Š¾Š¼ ŃŠµŠ±Šµ Šø о ŃŠµŃ ŃŃŃŠŗŠ¾Š²ŠøŠ½Š°Ń , ŠøŠ· ŠŗŠ¾ŃŠ¾ŃŃŃ ŃŃŠ¾Ń ŠæŃŠµŠ“Š¼ŠµŃ ŠøŃŠŗŃŃŃŃŠ²Š° Š±ŃŠ» ŠøŠ·Š³Š¾ŃŠ¾Š²Š»ŠµŠ½.
Š. Š¢Š°ŃŠ»ŠøŠ½ ŃŠ¶Šµ в 1913-1914 гг. Š½Š°ŃŠøŠ½Š°ŠµŃ ŃŠŗŃŠæŠµŃŠøŠ¼ŠµŠ½ŃŃ Ń Š¾ŃŠ²Š»ŠµŃŠµŠ½Š½ŃŠ¼Šø ŠŗŠ¾Š¼ŠæŠ¾Š·ŠøŃŠøŃми на ŃŃŃŠŗŠµ Š¶ŠøŠ²Š¾ŠæŠøŃŠø Šø ŃŠŗŃŠ»ŃŠæŃŃŃŃ. Дам Š°Š²ŃŠ¾Ń Š½Š°Š·ŃŠ²Š°Š» ŠøŃ "Š¶ŠøŠ²Š¾ŠæŠøŃŠ½Ńми ŃŠµŠ»ŃŠµŃŠ°Š¼Šø", "Š¼Š°ŃŠµŃŠøŠ°Š»ŃŠ½Ńми ŠæŠ¾Š“Š±Š¾ŃŠ°Š¼Šø ". ŠŃŠø ŃŠ°Š±Š¾ŃŃ Š¾Š½ ŃŃŠøŃал ŠæŠµŃŠµŠ»Š¾Š¼Š½Ńм ŃŃŠ°ŠæŠ¾Š¼ в ŃŠ²Š¾ŠµŠ¼ ŃŠ²Š¾ŃŃŠµŃŃŠ²Šµ.
Š ŠæŃŠµŠ“ŃŠµŠ²Š¾Š»ŃŃŠøŠ¾Š½Š½Ńе Š³Š¾Š“Ń Š¢Š°ŃŠ»ŠøŠ½ ŃŠ²Š»ŠµŠŗŃŃ ŠæŃŠ¾Š±Š»ŠµŠ¼Š¾Š¹ Š¼Š°ŃŠµŃиала в ŠøŃŠŗŃŃŃŃŠ²Šµ. ŠŠ½ ŃŃŠ²ŠµŃжГал, ŃŃŠ¾ Š·ŃŠøŃŠµŠ»ŃŠ½Š¾Šµ Š²Š¾ŃŠæŃŠøŃŃŠøŠµ не Š¼Š¾Š¶ŠµŃ ГаŃŃ ŠæŠ¾Š»Š½Š¾Š³Š¾ ŠæŃŠµŠ“ŃŃŠ°Š²Š»ŠµŠ½ŠøŃ о ŃŠµŠ·ŃŠ»ŃŃŠ°ŃŠ°Ń Ń ŃŠ“ожеŃŃŠ²ŠµŠ½Š½Š¾Š³Š¾ ŃŃŃŠ“а Šø поŃŃŠ¾Š¼Ń «обŃŃŠ²Š»ŃŠ» Š½ŠµŠ“Š¾Š²ŠµŃŠøŠµ глазŃĀ», «поŃŃŠ°Š²ŠøŠ» Š·ŃŠµŠ½ŠøŠµ поГ конŃŃŠ¾Š»Ń оŃŃŠ·Š°Š½ŠøŃĀ». ŠŠ½ ŃŃŠ°Š²ŠøŠ» ŠæŠµŃŠµŠ“ ŃŠ¾Š±Š¾Š¹ ŃŠŗŃŠæŠµŃŠøŠ¼ŠµŠ½ŃŠ°Š»ŃŠ½Ńе Š·Š°Š“Š°ŃŠø на ŃŠ¾ŃŠµŃŠ°Š½ŠøŃ ŃŠ°Š·Š½ŃŃ Š¼Š°ŃŠµŃиалов (Š“ŠµŃŠµŠ²Š°, Š¼ŠµŃŠ°Š»Š»Š°, ŃŃŠµŠŗŠ»Š°, каŃŃŠ¾Š½Š°, Š³ŠøŠæŃŠ° Šø Ń. Š“.) ŃŠ°ŠŗŠøŠ¼ Š¾Š±ŃŠ°Š·Š¾Š¼, ŃŃŠ¾Š±Ń ŃŠ²Š¾Š¹ŃŃŠ²Š° кажГого ŠøŠ· Š½ŠøŃ Š±ŃŠ»Šø вŃŃŠ°Š¶ŠµŠ½Ń в ŠæŃимененной Ń ŃŠ“ожником ŃŠ¾Ńме, в ŃŠæŠµŃŠøŃŠøŃŠ½Š¾Š¹ Š“Š°Š½Š½Š¾Š¼Ń Š¼Š°ŃŠµŃŠøŠ°Š»Ń ŃŠ°Š±Š¾Ńе, а ŃŠ°ŠŗŠ¶Šµ ā Š² ŃŠ²ŠµŃе, ŃŠ°ŠŗŃŃŃŠµ, ŃŠµŠŗŃŃŃŃŠµ.
ŠŠ° ŃŃŠ¾Š¼ мŃŃŠ»Ń Š¢Š°ŃŠ»ŠøŠ½Š° не оŃŃŠ°Š½Š¾Š²ŠøŠ»Š°ŃŃ. ŠŠµŠ“Ń ŠµŠ³Š¾ ŃŠµŠ»ŃеŃŃ Š±ŃŠ»Šø ŠæŃŠøŠ²ŃŠ·Š°Š½Ń Šŗ ŠæŠ»Š¾ŃŠŗŠ¾ŃŃŠø, а ŠæŠ»Š¾ŃŠŗŠ¾ŃŃŃ ā ŠµŃе оГин аŃŃŠøŠ±ŃŃ ŃŃŠ°Š“ŠøŃŠøŠ¾Š½Š½Š¾Š³Š¾ ŠøŃŠŗŃŃŃŃŠ²Š°. Š Š·Š°ŃŠµŠ¼ ŃŃŠ¾Ń аŃŃŠøŠ±ŃŃ Š½ŃŠ¶ŠµŠ½, ŠµŃŠ»Šø ŃŃŃŠ°ŃŠµŠ³ŠøŃ Š½Š°ŃŃŠ¾ŃŃŠµŠ³Š¾, ŠæŃŠ°Š²ŠøŠ»Ńного Š°Š²Š°Š½Š³Š°ŃŠ“изма в ŃŠ¾Š¼ Šø заклŃŃŠ°ŠµŃŃŃ, ŃŃŠ¾Š±Ń как можно менŃŃŠµ ŃŠ°ŠŗŠ¾Šµ ŠøŃŠŗŃŃŃŃŠ²Š¾ напоминаŃŃ? Š Š¢Š°ŃŠ»ŠøŠ½ ŃŠ¼ŠµŠ»Š¾ ŠøŠ·Š³Š¾Š½ŃŠµŃ ŠøŠ· ŃŠ²Š¾ŠøŃ ŃŠ°Š±Š¾Ń ŃŃŠ¾Ń ŃŠ°Š·Š“ŃŠ°Š¶Š°ŃŃŠøŠ¹ Šø гаГкий аŃŃŠøŠ±ŃŃ. То, ŃŃŠ¾ полŃŃŠøŠ»Š¾ŃŃ, ŃŃŠ°Š»Š¾ Š½Š°Š·ŃŠ²Š°ŃŃŃŃ ŠŗŠ¾Š½ŃŃŃŠµŠ»ŃŠµŃŠ¾Š¼ - "вŃŃ Š¾Š“Š¾Š¼" ŠøŠ·Š¾Š±ŃŠ°Š¶ŠµŠ½ŠøŃ ŠøŠ· ŠæŠ»Š¾ŃŠŗŠ¾ŃŃŠø каŃŃŠøŠ½Ń в ŃŠµŠ°Š»Ńное ŃŃŠµŃ Š¼ŠµŃŠ½Š¾Šµ ŃŠøŠ·ŠøŃŠµŃŠŗŠ¾Šµ ŠæŃŠ¾ŃŃŃŠ°Š½ŃŃŠ²Š¾, в ŠŗŠ¾ŃоŃом Š½Š°Ń оГиŃŃŃ Š·ŃŠøŃелŃ.
ŠŠ¾Š½ŃŃ - ŃŠµŠ»ŃŠµŃ ŠæŃŠµŠ“ŃŃŠ°Š²Š»ŃŠµŃ ŃŠ¾Š±Š¾Š¹ Š¾Š±ŃŠµŠ¼Š½ŃŃ ŠŗŠ¾Š½ŃŃŃŃŠŗŃŠøŃ ŠøŠ· ŃŠ°Š·Š½Š¾Š¾Š±ŃазнŃŃ ŃŠ¾Ńм ā ŃŠµŃений ŃŠøŠ»ŠøŠ½Š“ŃŠ¾Š², ŃŃŠ°Š³Š¼ŠµŠ½Ńов ŠæŃŃŠ¼Š¾ŃŠ³Š¾Š»ŃŠ½ŃŃ ŃŠ°Š¼, нанизаннŃŃ Š½Š° наŃŃŠ½ŃŃŃŠµ ŃŃŠ¾ŃŃ, Š·Š°ŠŗŃŠµŠæŠ»ŠµŠ½Š½Ńе в оГной ŃŠ¾Ńке.
Š”ŃŃŠ¾ŠøŃŠµŠ»ŃŠ½Ńе Š¼Š°ŃŠµŃŠøŠ°Š»Ń ā Š¶ŠµŠ»ŠµŠ·Š¾ Šø ŃŃŠµŠŗŠ»Š¾ ā ŃŃŠ°Š»Šø ŃŠ²Š¾ŠµŠ³Š¾ ŃŠ¾Š“а вŃŃŠ°Š·ŠøŃŠµŠ»ŃŠ¼Šø нового ŃŠ¾ŃŠøŠ°Š»ŃŠ½Š¾Š³Š¾ поŃŃŠ“ка, как ŠæŠøŃŠ°Š» позГнее ŠŠ»Ń ŠŠøŃŠøŃŠŗŠøŠ¹: Ā«ŠŠµŠ»ŠµŠ·Š¾ ŠŗŃŠµŠæŠŗŠ¾Šµ, как Š²Š¾Š»Ń ŠæŃŠ¾Š»ŠµŃŠ°ŃŠøŠ°Ńа, ŃŃŠµŠŗŠ»Š¾ ŃŃŠ½Š¾Šµ, как его ŠæŃŠµŠ“Š½Š°Š·Š½Š°ŃŠµŠ½ŠøŠµĀ».
Š 1920 г. он ŠæŠøŃŠ°Š»: "Š Š½Š°ŃŠµŠ¼ ŠøŠ·Š¾Š±ŃŠ°Š·ŠøŃŠµŠ»ŃŠ½Š¾Š¼ Геле в 1914 гоГŃ... Š±ŃŠ»Šø ŠæŠ¾Š»Š¾Š¶ŠµŠ½Ń Š² Š¾ŃŠ½Š¾Š²Ń "Š¼Š°ŃŠµŃиал, Š¾Š±ŃŠµŠ¼ Šø конŃŃŃŃŠŗŃŠøŃ". ŠŃŃŠ°Š·ŠøŠ² Š½ŠµŠ“Š¾Š²ŠµŃŠøŠµ глазŃ, Š¼Ń ŃŃŠ°Š²ŠøŠ¼ глаз поГ конŃŃŠ¾Š»Ń оŃŃŠ·Š°Š½ŠøŃ".
ŠŠ¾Š½ŃŃŃŠµŠ»ŃеŃŃ ŃŠ²Š»ŃŃŃŃŃ ŠæŃŠµŠ“ŃŠµŃŃŠ²ŠµŠ½Š½ŠøŠŗŠ°Š¼Šø наиболее Š·Š½Š°ŃимŃŃ Š“Š»Ń ŠŗŠ¾Š½ŃŃŃŃŠŗŃивизма ŃŠ°Š±Š¾Ń. ŠŠ“ной ŠøŠ· ŃŠ°ŠŗŠøŃ ŃŃŠ°Š» его ŠæŃŠ¾ŠµŠŗŃ памŃŃŠ½ŠøŠŗŠ° III ŠŠ½ŃŠµŃŠ½Š°Ńионала.
ŠŠ°ŃŠ½Ń Š¢Š°ŃŠ»ŠøŠ½Š° ŠæŃŠ¾ŠµŠŗŃŠøŃŠ¾Š²Š°Š»Š°ŃŃ ŠŗŠ°Šŗ Š³ŃŠ°Š½Š“иозное ŃŠµŃŃŃŠµŃ ŃŠ¾ŃмеŃŃŠ¾Š²Š¾Šµ ŃŠ¾Š¾ŃŃŠ¶ŠµŠ½ŠøŠµ, ŠæŃŠµŠ“Š½Š°Š·Š½Š°ŃŠµŠ½Š½Š¾Šµ Š“Š»Ń ŃŠ°Š·Š¼ŠµŃŠµŠ½ŠøŃ Š² нем главнŃŃ ŃŃŃŠµŠ¶Š“ений Š²ŃемиŃного гоŃŃŠ“аŃŃŃŠ²Š° Š±ŃŠ“ŃŃŠµŠ³Š¾. ŠŠ»Š°Š²Š½Š¾Š¹ Š¾ŃŠ¾Š±ŠµŠ½Š½Š¾ŃŃŃŃ ŠæŃŠ¾ŠµŠŗŃа Š¢Š°Ńлина Š±Ńло ŃŠ¾, ŃŃŠ¾ Š¾Š±ŃŠ°Š·Š½Š¾-ŃŠøŠ¼Š²Š¾Š»ŠøŃŠµŃŠŗŃŃ ŃŠ¾Š»Ń он ŠæŠµŃŠµŠ“ал ажŃŃŠ½Š¾Š¹ ŃŠæŠøŃŠ°Š»Ńной Š¼ŠµŃŠ°Š»Š»ŠøŃŠµŃкой конŃŃŃŃŠŗŃŠøŠø. ŠŠµŃŃŃŠ°Ń конŃŃŃŃŠŗŃŠøŃ Š±ŃŠ»Š° не в ŃŠµŠ»Šµ ŃŠ¾Š¾ŃŃŠ¶ŠµŠ½ŠøŃ, а оголена Šø Š²ŃŠ½ŠµŃена наŃŃŠ¶Ń. ДобŃŃŠ²ŠµŠ½Š½Š¾ же ŃŃŠ½ŠŗŃŠøŠ¾Š½Š°Š»ŃŠ½Ńе оŃŃŠµŠŗŠ»ŠµŠ½Š½Ńе Š¾Š±ŃŠµŠ¼Ń ŠæŠ¾Š“Š²ŠµŃŠµŠ½Ń внŃŃŃŠø ŃŃŠ¾Š¹ конŃŃŃŃŠŗŃŠøŠø оГин наГ Š“ŃŃŠ³ŠøŠ¼: ŠŗŃŠ±, ŠæŠøŃŠ°Š¼ŠøŠ“а, ŃŠøŠ»ŠøŠ½Š“Ń Šø полŃŃŃŠµŃа. ŠŠøŠ¶Š½ŠµŠµ ŠæŠ¾Š¼ŠµŃŠµŠ½ŠøŠµ (ŠŗŃŠ±) ŠæŃŠµŠ“Š½Š°Š·Š½Š°ŃŠµŠ½Š¾ Š“Š»Ń ŠŗŠ¾Š½ŃŠµŃŠµŠ½ŃŠøŠ¹ ŠŠ½ŃŠµŃŠ½Š°Ńионала, Š¼ŠµŠ¶Š“ŃŠ½Š°ŃоГнŃŃ ŃŃŠµŠ·Š“ов Šø Š·Š°ŠŗŠ¾Š½Š¾Š“Š°ŃŠµŠ»ŃнŃŃ ŃŠ¾Š±Ńаний, оно Š“ŠµŠ»Š°ŠµŃ Š¾Š“ŠøŠ½ Š¾Š±Š¾ŃŠ¾Ń в гоГ вокŃŃŠ³ веŃŃŠøŠŗŠ°Š»Ńной Š¾ŃŠø. Š”ŃŠµŠ“нее ŠæŠ¾Š¼ŠµŃŠµŠ½ŠøŠµ (ŠæŠøŃŠ°Š¼ŠøŠ“а) Š“ŠµŠ»Š°ŠµŃ Š¾Š“ŠøŠ½ Š¾Š±Š¾ŃŠ¾Ń в меŃŃŃ, зГеŃŃ ŃŠ°Š·Š¼ŠµŃаŃŃŃŃ Š°Š“Š¼ŠøŠ½ŠøŃŃŃŠ°Ńивно-ŠøŃŠæŠ¾Š»Š½ŠøŃŠµŠ»ŃŠ½ŃŠµ Š¾ŃŠ³Š°Š½Ń. ŠŠµŃŃ Š½ŠøŠ¹ ŃŠøŠ»ŠøŠ½Š“Ń Š²ŃŠ°ŃаеŃŃŃ ŃŠ¾ ŃŠŗŠ¾ŃоŃŃŃŃ Š¾Š“Š½Š¾Š³Š¾ Š¾Š±Š¾ŃŠ¾Ńа в ŃŃŃŠŗŠø Šø ŠæŃŠµŠ“Š½Š°Š·Š½Š°ŃŠµŠ½ Š“Š»Ń ŠøŠ½ŃŠ¾ŃŠ¼Š°ŃŠøŠ¾Š½Š½Š¾Š³Š¾ ŃŠµŠ½ŃŃŠ°
ДлеГŃŃŃŠøŠ¼ в ŃŠæŠøŃŠŗŠµ наиболее Š·Š½Š°ŃимŃŃ ŃŠ¾Š·Š“аний Š¢Š°Ńлина, ŠŗŠ¾ŃŠ¾ŃŃŠµ ŃŠ¼ŠµŠ»Š¾ можно ŠæŃŠøŃŠøŃлиŃŃ Šŗ ŃŃŠ“Ń ŃŠ°Š±Š¾Ń непоГвлаŃŃŠ½ŃŃ ŠæŠ»Š¾ŃŠŗŠ¾ŃŃŠø, ŃŠ²Š»ŃеŃŃŃ ŠŠµŃŠ°ŃŠ»ŠøŠ½.
ŠŠ°Š·Š²Š°Š½ŠøŠµ Ā«ŠŠµŃŠ°ŃŠ»ŠøŠ½Ā» ŠæŃŠ¾ŠøŠ·Š¾Ńло ŠøŠ· ŃŠ¾ŃŠµŃŠ°Š½ŠøŃ ГвŃŃ ŃŠ»Š¾Š² ā Š³Š»Š°Š³Š¾Š»Š° Š»ŠµŃŠ°ŃŃ Šø ŃŠ°Š¼ŠøŠ»ŠøŠø Š°Š²ŃŠ¾Ńа Š¢Š°Ńлин.
Š¢Š°ŃŠ»ŠøŠ½ ŃŠ°Šŗ обŃŃŃŠ½ŃŠ» ŠæŠ¾ŃŠ²Š»ŠµŠ½ŠøŠµ ŃŠ²Š¾ŠµŠ³Š¾ ŠæŃŠ¾ŠøŠ·Š²ŠµŠ“ениŃ:
ŠŠµŃŠ°ŃŠµŠ»ŃŠ½ŃŠ¹ Š°ŠæŠæŠ°ŃŠ°Ń как Š¾Š±ŃŠµŠŗŃ Ń ŃŠ“ожеŃŃŠ²ŠµŠ½Š½Š¾Š¹ конŃŃŃŃŠŗŃŠøŠø Š¼Š½Š¾Ń Š²ŃŃŠ°Š±Š¾Ńан ŠæŠ¾ŃŠ¾Š¼Ń, ŃŃŠ¾ ŃŃŠ¾ наиболее ŃŠ»Š¾Š¶Š½Š°Ń Š“ŠøŠ½Š°Š¼ŠøŃŠ½Š°Ń Š¼Š°ŃŠµŃŠøŠ°Š»ŃŠ½Š°Ń ŃŠ¾Ńма, ŠŗŠ¾ŃŠ¾ŃŠ°Ń Š¼Š¾Š¶ŠµŃ Š²Š¾Š¹ŃŠø в Š¾Š±ŠøŃ оГ ŃŠ¾Š²ŠµŃŃŠŗŠøŃ маŃŃ ŠŗŠ°Šŗ ŠæŃŠµŠ“Š¼ŠµŃ ŃŠøŃпоŃŃŠµŠ±Š°... ŠŠµŃŠ°ŃŠµŠ»ŃŠ½ŃŠ¹ Š°ŠæŠæŠ°ŃŠ°Ń ā ŃŠ¾Ńма, ŠŗŠ¾ŃŠ¾ŃŠ°Ń Š¾ŃŠ²ŠµŃŠ°ŠµŃ ŠæŠ¾ŃŃŠµŠ±Š½Š¾ŃŃŠø Š¼Š¾Š¼ŠµŠ½ŃŠ° в ŠæŃеоГолении ŃŠµŠ»Š¾Š²ŠµŠŗŠ¾Š¼ ŠæŃŠ¾ŃŃŃŠ°Š½ŃŃŠ²Š°.
Š” 1919 г. Š. Š¢Š°ŃŠ»ŠøŠ½ Š²Š¾Š·Š³Š»Š°Š²Š»ŃŠµŃ маŃŃŠµŃŃŠŗŃŃ Š² ŠæŃŠµŠ¾Š±Ńазованной ŠŠŗŠ°Š“емии Ń ŃŠ“ожеŃŃŠ² в ŠŠµŃŃŠ¾Š³ŃаГе. ŠŠ³Š¾ маŃŃŠµŃŃŠŗŠ°Ń ŃŠ°Š±Š¾Ńала поГ Š²ŃŠ²ŠµŃкой: "ŠŠ¾Š½ŃŃŃŃŠŗŃŠøŃ, Š¾Š±ŃŠµŠ¼ Šø Š¼Š°ŃŠµŃиал". ŠŠ¼ŠµŃŃŠ¾ Š¼Š¾Š»ŃŠ±ŠµŃŃŠ¾Š², ŠŗŃŠ°Ńок Šø ŠŗŠøŃŃŠµŠ¹ в маŃŃŠµŃŃŠŗŠ¾Š¹ Š±ŃŠ»Šø веŃŃŃŠ°Šŗ, ŃŠ»ŠµŃŠ°ŃŠ½Ńй ŃŃŠ°Š½Š¾Šŗ, Š½Š°ŠŗŠ¾Š²Š°Š»ŃŠ½Ń Šø ŃŠ°Š·Š»ŠøŃŠ½ŃŠµ инŃŃŃŃŠ¼ŠµŠ½ŃŃ. ŠŠ¾Š“ ŃŃŠŗŠ¾Š²Š¾Š“ŃŃŠ²Š¾Š¼ Š¢Š°ŃŠ»ŠøŠ½Š° ŃŠ°Š¼ ŃŠ¾Š·Š“авалиŃŃ ŠŗŠ¾Š¼ŠæŠ¾Š·ŠøŃŠøŠø ŠøŠ· Š¼ŠµŃŠ°Š»Š»Š°, Š“ŠµŃŠµŠ²Š°, ŃŠ»ŃŠ“Ń Šø Ń.Š“.
ŠŠ¾Š¶Š½Š¾ ŃŠŗŠ°Š·Š°ŃŃ, ŃŃŠ¾ оГним ŠøŠ· главнŃŃ ŃŠ¼ŃŃŠ»Š¾Š² ŃŠ°Š±Š¾ŃŃ Š¢Š°ŃŠ»ŠøŠ½Š° Š±ŃŠ»Š¾ Š°Š³ŃŠµŃŃŠøŠ²Š½Š¾Šµ Š¾ŃŠ²Š¾ŠµŠ½ŠøŠµ ŠæŃŠ¾ŃŃŃŠ°Š½ŃŃŠ²Š°. Š”Š½Š°ŃŠ°Š»Š° он Š½Š°Ń оГилŃŃ Š² ŠøŠ»Š»ŃŠ·Š¾Ńном ŠæŃоŃŃŃŠ°Š½ŃŃŠ²Šµ каŃŃŠøŠ½Ń. ŠŠ¾Ńом, в ŃŠµŠ»ŃŠµŃŠ°Ń , вŃŃŠµŠ» ŠøŠ· него в оГном Š½Š°ŠæŃавлении ā Š² ŃŃŠ¾ŃŠ¾Š½Ń Š·ŃŠøŃелŃ. ŠŠ°Ńем ŃŠ¾Š·Š“ал ŃŠµŠ°Š»ŃŠ½ŃŠµ ŃŃŠµŃ Š¼ŠµŃŠ½Ńе Š¾Š±ŃекŃŃ ā ŠŗŠ¾Š½ŃŃŃŠµŠ»ŃеŃŃ. ŠŠ°Š»ŃŃŠµ он вŃŃŠµŠ» ŠøŠ· Š³Š°Š»ŠµŃŠµŠ¹Š½Š¾Š³Š¾ ŠæŃŠ¾ŃŃŃŠ°Š½ŃŃŠ²Š° в ŠæŃоŃŃŃŠ°Š½ŃŃŠ²Š¾ жизни ā ŃŃŠ¾ его Š±Š°ŃнŃ. Š, наконеŃ, он Š²ŃоŃгŃŃ Š² возГŃŃŠ½Š¾Šµ ŠæŃŠ¾ŃŃŃŠ°Š½ŃŃŠ²Š¾. ŠŃо понŃŃŠ½Š¾ ā Š°Š²Š°Š½Š³Š°ŃГизм Šø ŃŠ°Šŗ-ŃŠ¾ Š°Š³ŃŠµŃŃŠøŠ²ŠµŠ½, а ŃŠ¶ ŃŃŠ¾ŠæŠøŃŠµŃŠŗŠøŠ¹ - Šø поГавно.
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