Essay-description based on Nesterov’s painting “The Vision of the Youth Bartholomew.” Nesterov

1889-90 211 x 160 cm. Oil on canvas.
State Tretyakov Gallery, Moscow, Russia

Description of the painting by Nesterov M.V. "Vision to the Youth Bartholomew"

An important role in the picture of Nesterov M.V. plays a landscape that is quite emotional and matches the mood of the characters. In the background we see a pale white-yellow sky. The main color in the painting is yellow, so it can be assumed that it is early autumn.

In the distance is a wooden church, whose two blue domes look like cornflowers growing in a green meadow. Behind it you can see a small village, and behind the village - endless space. Not far from the church there are vegetable gardens. The dark green crops are somewhat reminiscent of cabbage. Dense forests are depicted on the sides; they seem to frame the picture, giving it depth. To the left, a small river flows through bends.

In the foreground the author depicted the youth Bartholomew and the elder. The boy looks at the abbot with admiration and great attention. The boy’s thinness is visible: his emaciated face, bruises under his eyes. His light brown hair blends harmoniously with the colors of the trees and fields. The child folded his thin and thin arms in prayer. His back and knees are slightly bent, as if he intends to bow before the elder. The boy is wearing simple white peasant clothes. The author wanted to show the purity of a child's soul.

An old man stands in front of the boy. The hood hides his face, as well as his entire head; only part of the old man’s gray beard is visible. She says that an old sage is standing in front of the boy. Around his head is a halo that has practically disappeared into the yellow color of the trees. The elder holds a small casket with prosphora in his hands. He is wearing a black cloak and cape with red crosses.

The landscape in the painting is realistic, but the motif of fairy tales is visible in the figures depicted. The work evokes a feeling of sadness and calm. The author showed the purity and beauty of Russian nature.

An educational essay-description based on Nesterov’s painting “The Vision of the Youth Bartholomew” is taught in the 8th grade in two lessons after studying the topic “The Life of St. Sergius of Radonezh.” These are materials for teachers. If you want to find a finished essay, you won’t find it here!

Word from the teacher: You and I have become acquainted with the life of Sergius of Radonezh, we know the main events of his holy life, we understand why he was canonized. Today we will get acquainted with the paintings of the artist Nesterov, in which he depicted the life of St. Sergius. Nesterov studied at the Moscow School of Sculpture and Architecture, then at the Academy of Arts. He became interested in the religious trend in painting. All his paintings depicted saints, Jesus Christ, religious people, religious rituals. Together with Vasnetsov, he painted the Vladimir Cathedral in Kyiv, created frescoes and icons. In Moscow, he painted the Intercession Church in the Marfo-Mariinsky Convent.

Nesterov deeply understood the image of a “peaceful person.” Looking at his creations, we are amazed at how faithful to himself the artist recreated his world, which can only be called the world of the soul. He was interested in the spiritual life of a person, such traits as humility, peace, self-absorption.

Nesterov created a whole series of paintings depicting the life of St. Sergius of Radonezh.

Demo slide

The primary perception of the canvas that is to be described.

Today we will write a descriptive essay based on one of these paintings, “Vision to the Youth Bartholomew.”

Conversation on the picture

• What event from the life of the youth Bartholomew, the future St. Sergius, is depicted on this canvas?

This slide is aimed at preventing speech errors. The guys remember the previously acquired skills of working with an essay based on a picture.

But first of all, we must remember how to work on a descriptive essay based on a painting.

PC (answers to questions)

• Masterpiece, work of art, canvas
• Master, Nesterov, author of the canvas, painter
• Portrayed, created

At this stage of the lesson, the children remember information about the difference between a drawing and a painting. This is necessary to differentiate concepts and prevent lexical errors. Children should not use the words “drawing” or “drew” in an essay on a painting.

This slide is aimed at reviewing knowledge on essay writing technology. Also, as the slide is demonstrated, the guys begin to collectively draw up a plan.

Introducing this review of Paustovsky about the canvas, the teacher demonstrates the idea of ​​​​the work. It is this idea that must be carried out in the essay by all means: both compositional and linguistic. These words can be used as the thesis statement of an essay. The teacher asks the children to write an introduction.

Introduction example

M. V. Nesterov is a wonderful Russian artist of the late 19th and early 20th centuries, who was interested in religious subjects. On his canvases he depicted wanderers, God's people, and saints. The artist created icons and frescoes, painted churches in Kyiv and Moscow. In his work, he created the image of a peaceful person. Looking at his creations, we are amazed at how faithful to himself the artist recreated his world, which can only be called the world of the soul. He was interested in the spiritual life of a person, such traits as humility, peace, self-absorption. The painter was attracted by extraordinary people, holy passion-bearers, so he created a whole series of canvases depicting the life of St. Sergius of Radonezh. One of these paintings is called “Vision to the Youth Bartholomew.” In it we see that episode from the life of the saint when he met a holy elder in the field, who listened to the boy’s grief that it was difficult for him to read, and answered the boy that he would be given an understanding of the holy scripture not from people, but from God. This meeting was significant for Bartholomew because it predicted that he was God's chosen one.

The guys not only draw up a plan, but also prevent logical errors by coming up with “bridge” transitions from part to part.

• Paustovsky called this masterpiece... (further quote)
• From Bartholomew
• Humble
• In the eyes, in prayerfully folded hands

This slide draws students' attention to the compositional center of the canvas - the figure of a boy. We select materials to describe the youth.

• From the pose, from the hands
• Hands folded in prayer, blue eyes asking
• Oatmeal head, white blouse, colorful trousers, painted onuchi

This slide trains students' ability to present thoughts in a logical sequence.

We turn our attention to the background of the canvas

• What do we see in the background of the canvas?
• The road running into the distance that leads to the temple, compressed fields, thin birch and aspen trees, forested hillsides.

Let's look at it in detail.

• Simple Russian landscape
• Its purity, silence, dimness. Such nature awakens not jubilation and joy, but humble contemplation, immersion in oneself.

In conclusion, we need to make some kind of high chord, because the picture is really imbued with the spirit of holiness and silence of autumn Rus'.

• What will we write about in conclusion?
• About my attitude to this painting, about the feelings and thoughts that it awakens, about the significance of this masterpiece in Russian culture.

Conclusion example

This Nester masterpiece strikes the heart of everyone who has a heart. He awakens in us thoughts about the purity and dove-like holiness of Rus', the hope that the Russian spirit will not be extinguished forever, that no force will overcome our strength. This picture is a crystal lamp lit by the artist for the glory of his country. Our roads will not stop leading to the temple, the crimson bell will not stop ringing over Russia, Russian artists and poets will not stop glorifying the beauty of the national character.

A sample description of Bartholomew is shown. This can be done in classes with low motivation. In stronger classes, this slide can be hidden and an assignment can be offered for independent work.

Bridge-transition: A pious, not childishly humble gaze is fixed on the elder monk.

This slide also shows a sample description of the elder.

Bridge-transition from the elder to the landscape: The monk’s black robe stands out brightly against the background of golden compressed fields and pastel colors of the entire landscape.

The guys describe the landscape on their own.

The landscape presents Russia in all its simple, unpretentious beauty. The road running into the distance leads to an ancient wooden temple, steeped in legends and fairy tales. The crimson ringing of bells echoes throughout the entire area: over the thin white birches, and over the trembling aspen trees, and over the blue-eyed rivers. In the air, as pure as spring water, every leaf, every modest corolla of a wildflower, every blade of grass is visible. This sight reveals in us such depths of love for our native land that it costs even the most calm person to hold back involuntary tears.

So, we have finished collecting materials for the essay. Now you can put the “mosaic” together. Let's move on to the next slide.

Handouts for the lesson on working on mistakes

After composing, we definitely work on the mistakes together, because while the guys can still work on spelling and punctuation errors, at the very least, they do not understand speech, logical and grammatical errors. So I either make a presentation or give everyone this sheet with errors, and we work on them together.

Errors in the essay “Vision to the Youth Bartholomew”

Logical (no connection)

• Nesterov was a friend of Savva Mamontov, so he often visited Abramtsevo. The nature of the Moscow region, proximity to the holy places of Radonezh, inspired him to create (what?) canvas.
• The artist dedicated his paintings to holy people, people in need of help. One of them was St. Sergius of Radonezh. (It turns out that Sergius needed help?)
• A halo glows above the monk’s head, which means the youth is talking to the Saint.

We need to change the fragment so that the connection appears.

Speech

1. Unjustified repetitions of words

• A strange old man in a long black robe appeared in front of him, under a large tree. The elder has a prosphora in his hands.
• A close-up depicts a village boy and an old man dressed in a robe. The boy folded his hands in prayer...
• The old man is a holy man. The elder holds a reliquary in his hands.

Use pronominal substitution, synonyms.

1. Lexical errors (stamps)

• Nesterov is a great Russian artist;
• beautiful autumn landscape;

1. Lexical error (not knowing the meaning of a word) simple-bearer (elder-bearer)
2. Lexical inconsistency

• the crimson ringing sound coming from the domes scatters,
• bells create raspberry ringing;
• quiet autumn the palette echoes the characters;
• a blouse intertwined with a sash;
• pious look;
• his the figure is expressed against the background of compressed fields;
• painted portraits;
• It is part of a plant (i.e. oak tree)

1. Incorrectly chosen word from a number of synonyms

• The picture evokes strong feelings: peace, tranquility, tenderness.
• Colorful paintings

Grammar

1. 6. The text is not divided into sentences. One item - one sentence!

• He has an oat-haired head, he is dressed in a white blouse, belted with a sash...
• Hands folded in prayer on the chest, questioning eyes looking straight ahead.
• Oat head symbolizing Russia.
• White blouse, belted with a sash.
• Colorful trousers tucked into onuchi.
• He has brown hair, he is dressed in a snow-white blouse, which is tied with a sash, he is wearing colorful bloomers, and he has painted onuchi on his feet...

Divide into sentences with dots, add a predicate to each sentence or replace the participle with a verb or short participle.

1. 7. No agreement

... in colorful trousers tucked into painted onuchi

He painted many paintings, which he dedicated to clergy;

a reliquary from which the prosphora is taken out...;

in air as clean as spring water...;

blouse tied with a sash;

gaze fixed on the elder;

to the holy elder who helped the boy;

Black robe, merging with the tree

1. The sentence has no basis Even the event itself is like a prediction.
2. One cannot remain indifferent from this picture (The picture will not leave anyone indifferent)
3. No predicate His hands are folded in prayer (His hands are folded in prayer)
4. Missing words

• This sight reveals in us such deep____ love for our native land...;
• He has ____ a golden halo above his head.

1. Syntactic errors when constructing sentences with participles.

• Looking at this painting, your soul becomes quiet and calm. Replace SPP
• Looking at this work of art, harmony reigned in my soul. Replace SPP

1. Impaired control His face is not visible
2. Nesterov, painting this picture...

Orthographic

• Message to the youth Bartholomew, oatmeal head
• His colorful trousers are tucked into painted onuchi.
• The road running away into the distance
• Not a tricky Russian landscape
• Iss kus yours
• About the life of St. Sergius
• Warfa la mei
• It's like
• I'll be there
• Also___we see a high hill
• So, …

Punctuation

1. Participial turnover Looking at such nature x)

   Thanks for the help. Descriptive essays are still difficult for me: most likely, I’m nervous and can’t concentrate. The words disappear somewhere, I do simple spelling. mistakes in words (although I know their spelling). I want to look at pictures when they also tell something about them. It’s still difficult for us ourselves: slang gets in the way, there’s usually a hubbub in lessons, we don’t know anything about religion, etc. Thanks again.

2. #2

   Thank you, you helped a lot, I read the article and corrected my mistakes.

3. #3

   Dear Inessa Nikolaevna, thank you.

The artist Mikhail Vasilyevich Nesterov always had a special love for Saint Sergius of Radonezh. The painting “Vision to the Youth Bartholomew” is the first of a whole series of his works dedicated to the venerable abbot. This is explained by the fact that Nesterov is an artist whose work was formed on the basis of a high spiritual Christian tradition. He dearly loved his homeland, its nature and the people who lived next to him.

About the artist

Nesterov Mikhail Vasilyevich was born on May 31, and according to the old style on May 19, 1862 in Ufa. According to family legends, the future artist’s family came from Novgorod peasants who once moved to the Urals. His grandfather Ivan Andreevich was a serf, and later became, as they called then, a freedman. He managed to graduate from the seminary with excellent grades and, with a lot of effort, entered the merchant class.

The Nesterov family loved literature very much and even staged small plays. And once they even played Gogol’s comedy “The Inspector General,” which caused a stir in small provincial Ufa. It must be said that in those days books were still rare, but they were found in this house. On the recommendation of his father, Mikhail enjoyed reading “War and Peace” by Leo Tolstoy as a child. And I was very amazed by this work.

Mikhail Vasilyevich's father was an extraordinary person. Having discovered his son’s talent for drawing, he did not hinder his development, but, on the contrary, supported him in every possible way. And this despite the fact that in merchant families the business was passed on from father to son.

Church painting

Religious themes entered Nesterov’s life firmly and for a long time. But the master painted not only canvases. At one time he was engaged in painting churches. For example, in 1893-1894, in the Vladimir Cathedral in Kiev, he painted an altarpiece called “The Nativity of Christ,” and 2 years later, work on a mosaic was completed in one of the churches in St. Petersburg. In 1899, Nesterov began painting the Caucasian Church of Alexander Nevsky. After 5 years it was completed. The master also painted frescoes located in the Moscow Marfo-Mariinsky Convent. Work on them was carried out from 1907 to 1911. The best paintings by Mikhail Vasilyevich Nesterov, written by him on religious themes, date back to this time.

Family legend

How can one explain such a great desire of the artist for holy images? There was a certain family legend, according to which little Michael almost died, but, thanks to the intervention of a saint who miraculously healed him, the boy still survived.

It must be said that children were treated then using rather harsh folk methods. For example, they were kept directly in the snow or in the cold or, conversely, placed in a hot oven. According to the artist himself, it seemed to his mother that he had died. Then the child, as expected, was ritualized and laid under the icons, an icon of St. Tikhon of Zadonsk was placed on his chest, and they themselves went to the cemetery to order a funeral. After some time, the mother noticed that her child had woken up. She was sure that this miracle happened thanks to the intercession of the saint. Since then, in addition to Sergius of Radonezh, Tikhon of Zadonsk also became especially revered and beloved in their family.

Working on a painting

Nesterov wrote “Vision to the Youth Bartholomew” while in Komyakin. Not far from this place was the Trinity Lavra of St. Sergius. Also nearby is the Abramtsevo estate, owned by the then famous philanthropist Savva Mamontov. As you know, he loved to invite already established, famous artists to visit him: Serov, Vasnetsov, Bilibin, Vrubel. Nesterov was also there. “Vision to the Youth Bartholomew” is a painting in which Abramtsevo landscapes are used. The artist himself wrote that he sketched the sketch for this work while he was right there. Then he was deeply struck by the uncomplicated authenticity of Russian nature. Several preparatory drawings and sketches for this most famous of his paintings have survived.

Canvas theme

Mikhail Nesterov dedicated “Vision to the Youth Bartholomew” to Sergius of Radonezh, who lived in the 14th century. He was the founder and abbot of the Trinity-Sergius Monastery. In the world he bore the name Bartholomew. He is still one of the most revered saints in Russia.

It was with the blessing of Sergius that Dmitry Donskoy went to the battle that took place in 1380. The battle against the hordes of Mongol-Tatars under the leadership of Khan Mamai ended in victory for the Russian army. With it began the liberation of lands from the Mongol yoke.

For the artist, the image of young Sergius became a kind of symbol that gave hope that Russian spirituality would nevertheless be reborn.

Nesterov’s painting “Vision to the Youth Bartholomew” depicts one of the episodes from the life of Sergius of Radonezh. Unlike his brothers, it was very difficult for the boy to learn to read and write as a child. One day, while looking for a missing horse, he wandered into the forest, where he met a monk praying by an oak tree. Bartholomew complained to the monk that it was difficult for him to get a letter. The elder, with the help of the sacrament of communion, helped the youth gain knowledge.

Colors on canvas

When describing the painting “Vision to the Youth Bartholomew,” one cannot help but notice the warmth emanating from it. Almost all the colors used by the artist to paint it are sunny and joyful: yellow, orange, green, brown, ocher.

In the foreground of the picture we see two central figures - a monk and a youth, surrounded by an autumn, purely Russian landscape. On the second there is a hill overgrown with tall grass. Almost all of it has turned yellow and dried out in places, but small pale blue flowers are still clearly visible against its background. The depth of the picture is given by the hills located on the sides: on the left - yellow-green, overgrown with tall spruce trees, and on the right - red-yellow.

In the background one can see a field sown with golden wheat, and on its edge there are two dilapidated, slightly lopsided, dark huts. Behind them is a wooden church, no longer new, with bright blue domes surrounded by slender birch and spruce trees. Opposite it, across the road, a small river meanders, glittering. The water in it is clean and transparent.

Central figure

It must be said that the description of the painting “Vision to the Youth Bartholomew” will be incomplete without separately mentioning how the image for one of the main characters was found. They say that Nesterov searched for a long time for a model to paint a boy from. But one day he accidentally met a girl who suffered from consumption. He was amazed by her appearance: on her sickly child’s face, it seemed that only bright eyes lived, looking at him with some unearthly gaze. It was then that the artist realized that he had finally found the image of the youth.

In the painting, little Bartholomew is depicted in a simple white peasant shirt, with a whip visible on his belt, and a bridle hanging from his hand. As mentioned above, according to the Life, the boy’s father sent him to look for a lost horse. Looking into the eyes of the boy, you can see all the purity of his soul. They look at the elder very seriously, in an adult way, as if they see their future destiny.

Image of a monk

The fact that the saint’s face is hidden by a pulled-down doll gives some mystery to the picture. It can be seen that the elder carefully holds the casket in his hands. This is seen as love and tenderness, which are directed towards the boy. Bartholomew, standing in front of the monk, folded his hands in prayer, and his legs, slightly bent at the knees, eloquently testify to his obvious admiration for the elder’s holiness.

When describing the painting “Vision to the Youth Bartholomew”, special mention should be made of the golden halo surrounding the monk’s head. After the painting was first demonstrated at the exhibition of the Itinerants in 1890, it was this small detail that caused serious controversy among artists. They immediately noticed one characteristic discrepancy: the old man’s face is written in profile, but for some reason the halo itself is written in front. Following artistic plausibility, holiness should have been depicted only with a thin golden line, and not in a circle, as in the painting. But, most likely, by painting this detail in this way, the artist Mikhail Nesterov wanted to draw the audience’s attention not to the face of the saint, that is, to his external features, but specifically to his righteousness.

Opposition

An interesting detail that needs to be included in the description of the painting “Vision to the Youth Bartholomew”: at the boy’s feet there grows a very weak and thin Christmas tree, similar to him, and behind the old man there is an oak tree, old and wrinkled, like the monk himself. This tree has always personified wisdom and greatness.

Continuing to compare the image of the old man and the youth, it is impossible not to note that the simple white shirt on the boy is the brightest detail, located in the center of the picture. It symbolizes purity and youth, while the dark, almost black clothes of the monk symbolize the wisdom that comes with age and old age.

Nesterov’s painting “Vision to the Youth Bartholomew” was painted very harmoniously. The boy's straw hair resembles autumn fields and yellowed leaves on birch trees, and his boots and pants are made with the same colors as the old man's doll.

A cycle of paintings about St. Sergius of Radonezh

Nesterov is an artist who was haunted by the image of this saint throughout almost his entire life. After the first painting dedicated to Sergius of Radonezh (“Vision to the Youth Bartholomew”), he proceeds to the next large canvas - “The Youth of St. Sergius.” While working on it, he seemed to be creating a legend about Holy Rus'. In this mythical country, nature and man merged together, united by sublime spirituality and prayerful contemplation.

The paintings of the artist Nesterov are distinguished by their unusual landscapes. Most often they feature the discreet nature of either central Russia or its northern regions. This type of landscape is called Nesterovsky. It is characterized by thin birches, fluffy pines, rowan trees with berries and carved leaves, as well as spreading willows. Each tree in the paintings seems to be endowed with its own soul.

Post-revolutionary activities

After 1917, Nesterov was mainly engaged in painting portraits, since churches were not in honor among the Bolsheviks. In his paintings, the artist always gravitated towards the lyrical line of his art. That is why he continued it in portraits of women. This is especially noticeable when he painted his daughter Vera in 1928. She is depicted in a white ball gown with soft pink flowers on her chest, sitting on an antique sofa.

Nesterov portrayed his other daughter, Natasha, as a girl who lived during the French Revolution. This painting was called “Girl by the Pond”, and it was painted in 1923.

An interesting fact is that the older Nesterov became, the more energetic and masterful his art seemed. Oddly enough, the best of the portraits were painted by him after the age of 70. The artist painted not only other people, but also himself. There are several self-portraits of him. In one of them, in the background, he made a high cliff above the Belaya River. His last work was a landscape called “Autumn in the Village.” The artist loved his native land very much, a little harsh, but so dear to his heart

What picture did M. Nesterov consider the best and most successful? “The Vision of the Youth Bartholomew,” of course. According to the artist, he really wanted not only his contemporaries, but also his descendants to appreciate this work of art. His dream came true. Now this painting is exhibited in the State Tretyakov Gallery, in room No. 39.

Mikhail Vasilyevich Nesterov is a famous religious artist. They call him religious both because he was born into such a family and because it was thanks to paintings on religious themes that he became famous. One of the author’s most significant paintings is the canvas “Vision to the Youth Bartholomew.” The artist dedicated it to St. Sergius of Radonezh. This painting opened a whole series of works dedicated to the Russian religious ideal.

Mikhail Nesterov was very interested in the life of St. Sergius. He was very revered in his family and beyond. St. Sergius was the hope of Rus' for the spiritual revival of monastic life. Many followed him. Temples were built in monasteries, icons were created, and chronicles were copied. The author, while working on the work, lived within the Trinity-Sergius Lavra to visit the places of activity of St. Sergius.

The plot of the film is an episode from the life of the saint. At the request of his father, he looked for the missing herd, and there he had a vision. An unfamiliar and mysterious elder gave him the gift of comprehending the meaning of the Holy Scriptures and wisdom.

But in order to admire the painting, you don’t need to know the history; the work itself is wonderfully executed. Mikhail Nesterov paid a lot of attention to detail. How beautifully he depicted the hills and plains, how he drew every blade of grass and leaves on the trees, how wonderfully the clothes of the boy and the old man were presented. The meaning of the work can be seen in all these details. It is very kind, bright, pure and emotional. In addition to the most important moment of the picture - the boy and the old man, there is something else to admire and look at. Perhaps that is why the painting acquired immortality, which the author did not even hope for.

Most of the paintings created by M. V. Nesterov in the 1890s are dedicated to the life of Sergius of Radonezh.

For Nesterov, the image of Sergius was the embodiment of the ideal of a correct, pure and ascetic life, but in his eyes it also had social significance.

The first work of this cycle was the painting “Vision to the Youth Bartholomew,” which appeared at the eighteenth Traveling Exhibition. M. V. Nesterov began working on it in 1889.

The plot was based on religious legend. One day his father sent Bartholomew to look for a horse. In a field under an oak tree, the youth saw an old man diligently praying. Bartholomew approached him, and he, having finished the prayer, blessed him and asked what he was looking for, what he wanted. Bartholomew replied that most of all he would like to gain reason for teaching. The elder prayed for him, and then, taking out part of the prosphora, he gave it to the youth, commanded him to taste it, saying that along with this he would be given the mind to study.

In his film, Nesterov is far from describing the action in detail. It is not for nothing that it is difficult to understand exactly what moment of the legend is depicted. The artist, rather, was interested not so much in the miraculous event itself as in determining its inner character, its reflection in the boy’s soul.

Nesterov depicts the moment when the youth Bartholomew stopped in front of the elder, waiting for the end of the prayer. The thin figure of the boy, which the artist placed almost in the center of the picture, merges with the landscape; it seems to be an organic part of fields, meadows, thin, trembling trees, green copses, this pure Russian landscape with its wooden church, village roofs, fir trees and a winding river.

Nature is depicted by Nesterov with deep understanding - it is not just a background for action, but the embodiment of a poetic idea of ​​​​Russian nature, its gentle beauty and amazing harmony. And at the same time, the artist depicts nature simply and artlessly: village houses, barns, and the slightly reddish roof of a village chapel with silver-blue domes, echoing the blue stripe of a light cloudy sky. Everything is permeated with a living, real feeling of human life, purified from everyday vanity, peaceful, beautiful in its purity.

But the boy is sad - there is so much unchildish sad attentiveness in him, some kind of quiet emotional expectation. A sad motif sounds in this landscape; there are no bright colors in it. The gentle tones of early autumn definitely paint the whole picture with a pale golden color. But nature is trembling, it is beautiful in its quiet, slightly sad silence. Nesterov achieved in this work - and from now on this becomes one of the main features of his work - amazing emotionality of the landscape, unity with the mood of a person. Despite the implausibility of the plot, there is no feeling of its falsity and far-fetchedness.

The novelty of the picture largely lies not only in the depiction of nature. Nesterov faced an ethical problem - to show the spiritual frequency of the boy, to show the ideal of a pure, sublime, harmonious life associated with ideas about the spiritual ideals of the Russian people.

The boy is not surprised by the appearance of the old man; he was definitely waiting for him and is now immersed in contemplation. Nesterov affirms the reality of the miracle, the possibility and naturalness of this miracle in the spiritual life of the youth Bartholomew.

The landscape of the painting is realistic, but there is a fairy-tale motif in the figures. It seems that everything in the picture has frozen, silence. When I look at the picture, I have a feeling of calm and sadness. This painting depicts the purity and beauty of Russian nature.