Приемы и методы обучения письменному переводу в вузе. Практикум. Учебное пособие

The heady inuence of Cézanne, whom Konchalovsky revered, has been well documented by art historians and the artist himself. It was Konchalovsky himself who translated Emile Bernard’s `Cézanne, his unpublished letters and reminiscences’ into Russian. On his return to Russia, Konchalovsky was able to see the 32 canvasses in the col­lection of Sergei Shchukin whose home, after 1909, was open to the public on Sundays although the doors to Ivan Morozov’s incredible collection featuring examples of the artist’s work from every period remained rmly closed. In his memoirs, Konchalovsky recalls how ‘Cézanne’s methods of understanding nature were dear to me. I fol­lowed in his footsteps even later, in my more mature years, because it was Cézanne’ methods which allowed me to see nature in a new way and I wish always to be true to it. Even in those years I felt instinctively that without new methods there would be no salvation, no way to nd a path to true art. That’s why I grasped at Cézanne like a drowning man at a straw.’ (quoted in V. Nikolsky, Petr Petrovich Konchalovsky, Moscow, 1936, p.38). If the inuence of Cézanne is discernable in the lyrical Versailles. L’allée, the spirit of Van Gogh (g 1.) is agrant. Konchalovsky rst encountered the work of Van Gogh in 1907 when a large retrospective of his work was held in Paris. The effect it had on him was profound: