A + A - H = Anna, Amedeo and Nikolay
In Paris, on the small street of Rue Delambre in the Montparnasse quarter (Mount of the Muses), there are many hotels named after famous French poets and artists of the early 20th century. Those who are not familiar with French poetry will not be told by the name of the Apollinaire hotel, but it is impossible to pass by VillModigliani without noticing the drawing with the characteristic curves of the silhouette lines of young Anna Akhmatova on the billboard with prices.
I would show you, the ridiculous
And the favorite of all friends, the
Tsarskoye Selo cheerful sinner, What happened to your life.
A. Akhmatova
In Paris, on the small street of Rue Delambre in the Montparnasse quarter (Mount of the Muses), there are many hotels named after famous French poets and artists of the early 20th century. Those who are not familiar with French poetry will not be told by the name of the Apollinaire hotel, but it is impossible to pass by VillModigliani without noticing the drawing with the characteristic curves of the silhouette lines of young Anna Akhmatova on the billboard with prices. Above the entrance of the hotel, a sweeping signature of Modigliani, a courtyard with a fountain evokes associations with Italy, Amedeo's homeland, and on the walls there are copies of his works. It says a lot about the artist, although the maestro himself, most likely, has never been to this building.
From the Hotel Villa Modigliani on the Rue Delambre, the boulevards of Montparnasse and Raspail are a stone's throw from the boulevards, which, like two rivers, flow around an ancient building resembling a ship. On the ground floor of this house is the famous Parisian cafe "Rotunda", with the owner of which, according to legend, Modigliani sometimes paid with his sketches and sketches on napkins.
At the beginning of the last century, the "Rotunda" became a club, a shelter, a get-together of a half-impoverished international bohemian who came to Paris to study painting with a great desire for fame and recognition. She was destined to determine the path of art of the new century, giving the world Picasso, Apollinaire, Malevich, Chagall, Cocteau, Rivera and many other artists, poets, writers. Not all of them survived to old age, and only a few became rich.
If the poor artists, who later became famous and sold, were happy and rich in the first half of their creative life, they would not have created their masterpieces. The world is ruled by hunger, even more so by art.
"We both wandered into a deceitful country and we bitterly repent …"
Anna Akhmatova
The youth of Anna Akhmatova and Nikolai Gumilyov fell on the brightest, but short period of the heyday of Russian art - the Silver Age. No culture knows such a constellation of talented poets and poetesses with a tragic fate, they cannot be found in any country in the world.
It seemed that after a long stagnation, nature with a generous hand threw out into the Russian world a huge number of people with a sound vector and a combination of urethral and sound, giving them the opportunity to sublimate in their properties, creating inimitable works in literature and art.
This clot of diverse iridescent talented pigment painted the whole world with subtle dramatic strokes, having a tremendous impact on the entire world culture, becoming its standard, giving it a new rhythm, new geometry of sound in avant-garde painting and poetry.
"And I realized that I was lost forever in the blind transitions of spaces and times …"
Nikolay Gumilev
Fate brought Akhmatova and Gumilyov together in Tsarskoe Selo. Young Akhmatova was of amazing non-classical beauty, having “the stern face of a novice from the Old Believer skete. All features are too sharp to call a face beautiful”(Vera Nevedomskaya. Memoirs).
Oscar Wilde's admirer, the young poet Nikolai Gumilev, out of romantic motives, decided that a star of some incredible, all-consuming love, necessarily dramatic, should rise in his life. I didn't have to wait long. When he turned 17, he met fourteen-year-old Anya Gorenko, the future great poetess Anna Akhmatova.
I know a woman: silence, Bitter fatigue from words
Lives in the mysterious flicker of
Her dilated pupils.
Her soul is open eagerly
Only to the brass music of the verse, Before life dolny and joyful
Arrogant and deaf.
Nikolay Gumilev
Nikolai Stepanovich five or six times makes a matured girl an offer to become his wife, but gets rejection after rejection. Did Gumilyov visualize this love for himself, did he want to achieve his goal in a skin-like way, or was he driven by anal stubbornness? The desires of polymorphs are multi-layered and provide systemic biographers with a wide field to explore all the intricacies of cause and effect. One way or another, failing to get the hand of Anna Gorenko, he leaves for Paris, where he decides to commit suicide. Committing suicide was not the desire of his sound vector, it was a banal visual blackmail. He changed his mind about drowning in the dirty Seine: it would have looked completely unromantic, so Gumilyov went to the Cote d'Azur, where the French police prevented the implementation of his suicidal plans "in life", mistaking the young Russian poet for a vagabond.
Saddened by such a failure, Nikolai Gumilyov returns to Paris, but thoughts of suicide do not leave him. This is also mixed with a stubborn anal desire to hang a psychological anchor on the obstinate girl: "I ask you to blame for my death …"
Then he decides to poison himself and not somewhere in a stuffy attic, but in public, in the fresh air in the Bois de Boulogne. The spectator needs an audience, poisoning himself in the Bois de Boulogne is like laying hands on himself in a park of culture and recreation. The unlucky suicide was quickly discovered and revived. Fortunately, the poison has not yet had time to exert its toxic effect.
"And the woman who was given, having been exhausted at first, we enjoy …"
Nikolay Gumilev
Frightened by such a turn of affairs, Anna Gorenko, after another proposal, agrees to become Gumilyov's wife. The delighted groom flees to Africa for several months instead of wedding preparations. They eventually married on April 25, 1910. “I am marrying a friend of my youth,” Akhmatova wrote to her relative S. V. Stein. “He has loved me for three years now, and I believe that my destiny is to be his wife …”
Having settled after marriage in the estate of the Gumilevs, with the mother of Nikolai Stepanovich, in the Tver province, Anna Andreevna did not feel happy. “She was silent at the table, and it was immediately felt that she was a stranger in her husband's family. In this patriarchal family, both Nikolai Stepanovich himself and his wife were like white crows. The mother was upset that her son did not want to serve either in the guard or in the diplomatic, but became a poet, disappears in Africa and brought some wonderful wife, also writes poetry, everything is silent. Sometimes he walks in a dark chintz dress, like a sundress, or in extravagant Parisian toilets …”(Vera Nevedomskaya. Memoirs).
Guilt is inherent in people with an anal vector. Nikolai Stepanovich, with his suicidal blackmail, did everything to introduce him into Anna's unconscious. She succumbed to this provocation, probably deciding that she will “endure and fall in love”. It was "endured" for as long as 8 years. For a forced marriage, it’s quite a lot. During this time, the couple had a son, Levushka, the future famous scientist-ethnologist, historian and translator Lev Nikolaevich Gumilyov. The fate of the son was very bitter, and the relationship with his mother was even worse. The anal-visual child, who was brought up by his grandmother, the mother of Nikolai Stepanovich, until the age of 16, never forgave Anna Andreyevna for the restraint of her maternal feelings.
Mutual misunderstanding, alienation of mother and son is outlined already in the twenties. Then Leva loved his mother very much, needed her affection, care. He was waiting for her, every time he asked to come at least for Easter and Christmas. He blamed only himself for Akhmatova's coldness. From a letter from Leva Gumilyov to Pavel Luknitsky, late 1925: “Mom hasn't written to me since my arrival, it’s true, I blurted out something, and she was disappointed in me”.
But Anna and Nicholas “did not fall in love”, apparently, from the very beginning. They understood, in agreement with the properties of their anal-sound-visual vectors, respected and appreciated each other, but there was no passion between them: “We were friendly and internally owed a lot to each other. But I told him that we need to leave. He did not object to me, but I saw that he was very offended … Gumilyov, already a well-known poet by that time, looked down on his wife's poetry, considering her poetry a whim, because he took a woman as his wife, not a poet. The skin vector of both poets created a visible competition between them, in which Anna Andreevna was in the lead. The creative jealousy of Anna and Nicholas was good for them, improving the quality of the verse, while simultaneously destroying the already fragile family ties.
Speaking about love, Yuri Burlan's System-Vector Psychology assigns a special place to smells and pheromones in relations between the sexes. Only through smells people at a deep animal level are able to build their relationships, no matter what direction they wear. The habit of smelling a partner dulls sexual desire, and the presence of a sound vector makes a person asexual. Attraction is pheromones that can keep a person together for up to three years. The marriage between Anna Andreevna and Nikolai Stepanovich was doomed from the very beginning. Relations with Amedeo were consistent with the natural attraction of the anal-visual artist, drawn by Akhmatova's skin-sound bundle of vectors.
"No despair, no shame, not now, not later, not then!"
Anna Akhmatova
The manipulation of suicide attempts did not add charm and sympathy to Nikolai Stepanovich in Anna's eyes. Any woman, especially the beginning of the last century, seeks to get her portion of endorphins, expressed in the balance of the brain through a sense of security and safety. Where can this sensation come from, and at the same time love for a person who obsessively persuades him to marry him, and if he refuses, he tries to commit suicide repeatedly?
Therefore, one should not at all be surprised that Anna Andreevna, during her honeymoon in Paris, leads an acquaintance with the impoverished artist Amedeo Modigliani, a famous heartthrob. The exchange of pheromones between the artist and the poetess happened so quickly and intensely that romantics tend to call it love at first sight. Naturally, it also could not do without a visual vector. It is known that viewers perceive the world differently, stronger, brighter, more emotional, and more voluminous.
The air of Paris in itself intoxicates Anna, and then there is the Rotunda cafe with its half-crazy creative bohemia, where they drink strong Arabian coffee, hoping that someone from casual acquaintances or suddenly "rich" friends who have managed to sell their chef-d'œuvre, pay for a cup you drink, offer a glass or two of "frivolous" Beaujolais Nouveau wine, or share hashish.
Anna found herself in Montparnasse in the very center of the Parisian bohemian get-together, where the art of a new generation was formed in poverty, alcoholism, and drug addiction. Half of the inhabitants of the Rotunda cafe from the Mountain of the Muses will die of cold, hunger and chronic diseases. The rest will lay down their heads on the Western Front of the First World War, or will return disabled, poisoned by gas, like Apollinaire, in order to last a couple of years in severe torment.
And in the center of all this Parisian chaos is a man in a bright yellow suit - Amedeo Modigliani, not a Spaniard, not an Italian, but a "Tuscan prince", "a descendant of Spinoza" and "son of a banker", if you believe his words. But they do not believe him, just as they do not believe in his "royal" belonging, despite the inner aristocracy. He is inimitable handsome, daring, immoral, sensual. Where could the aesthetic touchy Gumilyov compete with him? It all started with a scandal. Two stubborn people, Amedeo and Nikolai, almost collided with their heads because of Anna. One as an owner and a new husband, the other as an artist who has found his muse.
“Let's see what develops from this cocoon. Maybe an artist"
From the diary of Eugenia Modigliani, mother of Amedeo
For a young southerner from a good family, Paris turned out to be a difficult test, primarily with its damp climate and lack of money. After several years of life in the world capital of arts, from an elegant, benevolent and well-mannered young man, Modigliani turns into a cocky drunkard, rumpled and shabby. At first, the Italian's works were not bought, his painting was too unusual. But as soon as his canvases became interested in some intermediary dealer from the New World, who bought up Expressionist works on the cheap to resell them to overseas collectors who knew nothing about art, Amedeo immediately refused the deal.
To buy tobacco and food, he draws signs, earning in an anal way honest handicraft labor. He did not expect money for his paintings, money was of little interest to him. He craved recognition and fame.
Meeting Akhmatova as a model will really change a lot in Modi's work. He will find his own special style in portrait painting, showing genius in the simplicity of lines and color, creating on the canvases of beauties with elongated proportions of bodies and faces - "either nuns or harlots." “I am interested in a human being … the face is the greatest creation of nature …" - said Modigliani.
Once the portrait painter Amedeo Modigliani almost got into a fight with a fellow in the craft, a landscape painter, proving the senselessness of depicting nature. “There is no landscape. Only man is the only possible reason for creativity … I think that man is a world that sometimes is worth any worlds, he wrote in one of his messages.
Anna Andreevna, who undoubtedly played a role in the fine arts of that period, will say: "Parisian painting ate French poetry." 15 drawings of Modigliani with images of Akhmatova, long considered lost and found in 1993, testify to their love affair, although the poetess herself claimed that the artist did not draw her from life. Be that as it may, but, according to experts, it was the image of the nude poetess that opened the series of Modigliani's famous women's paintings, painted in the nude style.
Parisian fine art, represented by talented artists with anal-sound-visual vectors, prevailed over French poetry also because there were no poets with sound and urethra among the French of that time. They did not have Alexander Blok, Vladimir Mayakovsky, Sergei Yesenin, Marina Tsvetaeva … after all, the urethral vector with a clear sound can develop and sublimate with its properties only in Russia.
Egocentrism of genius
I'm free. It's all fun for me, -
At night the Muse will fly off to console, And in the morning glory will be dragged along The
rattle over the ear crackling.
A. Akhmatova
Her focus on herself was noted by all her contemporaries. “Now from Anna Akhmatova … We talked for a long time, and then for the first time I saw how passionately, hopelessly, all-absorbing she loves herself. He carries himself everywhere, only thinks of himself - and he listens to others only out of politeness,”Korney Chukovsky wrote in his diary in December 1921. It seemed to the children's writer that Akhmatova was thinking about herself. Zvukovichka Anna Andreevna, in contrast to Korney Ivanovich, who was oral talkative, did not disdain slander and gossip in relation to his literary comrades, was really absorbed in the inner work of thought. Any sound engineer is focused on himself, for him it is natural, and a poet, if he is, of course, a real poet, and not an oral-visual poetry, does not begin to muddle and splash his inner state. His mind, knowing well"From what rubbish poetry grows", is in constant work, he is busy honing rhymes, clear and precise as formulas.
Ariadna Efron, daughter of Tsvetaeva and Sergei Efron, wrote: "Marina Tsvetaeva was immense, Anna Akhmatova was harmonious …" Marina Tsvetaeva's immensity was created by a combination of urethral and sound vectors. Anna Akhmatova was harmonized by the skin-sound ligament with the anal, giving her a certain softness, restraint and inhuman patience in all the trials prepared for her by fate.