The faculty
room was abuzz with the names of different places in the four corners of the
wind. The long-awaited mid-term break had finally arrived, and most were looking
forward to hightailing it out of Moscow. The names of various destinations and
means of travel were spewed out in succession; cities and towns in the UK, off to
London … connecting from Dublin, driving from Dublin airport, flying first
class to Paris, Durban, South Africa, a resort in Turkey, Dubai, were among them. There were
fervent discussions about one another’s activities and how great it was going to be
not to be in Moscow, where people don’t speak English like in other big cities
in Europe, and it was currently just too cold and grey. It would be nice to
get some sun and eat some nice food elsewhere. None of these views about Moscow
were untrue, but...
“No, I’m
staying in Moscow. I still have a lot to explore here.” I replied, when asked
if I was going somewhere.
“Well, enjoy
Moscow then.”
“I certainly
will. See you next week”.
For once, I
was looking forward to a lie-in and leisurely strolls in Moscow; weather
permitting, and that was an important condition. On Saturday I enjoyed my
lie-in with the intention of starting my expeditions the next day.
Not
unsurprisingly, Moscow was blanketed with a white sheet of snow on Sunday. I woke
up to witness the first snowfall in Moscow on October 28th – big, fast
descending flakes for hours; long enough to pile up for deep, clear footprints all
over the city. Had it continued snowing throughout the day, it would have been
better. Unfortunately, as day broke and the temperature rose, it turned to
rain. For hours, it rained non-stop. Most of the snow turned to slush and
fast-flowing streams and puddles I had to jump over on my way to the Pushkin
Museum - my chosen destination.
I made it
safely to the metro which I rode to Krapotkinskaya. Outside, on my right stood
the majestic white and gold-domed Christ the Savior Church where Pussy Riot had
staged their infamous riot, the result of the worldwide, media-covered, on-going trial in Moscow. I was in the
Museum Quarter where a series of palace-looking buildings housed the most
prominent museums in Moscow – Roerich, Pushkin… and a few others. I
successfully navigated my way across the street, over a pile of snow and fast
running streams, narrowly escaping a heavy splash from a huge, speeding four-wheel
drive to the museum. The 45-second journey took on the dangers of an expedition
in the jungle.
At the museum,
I went through the metal detector sans bag and umbrella. Cleared of any
subversive acts, I proceeded to the cloakroom to unburden myself from the coat
and wet umbrella to enjoy a tour of the three floors housing canvases and
sculptures of contemporary art authored by some of the most famous hands and
brushstrokes in the history of the art world.
Although the
price of the ticket was not an exorbitant amount, I was not happy to be charged
exactly double what Russian citizens would pay. It wasn't the ticket seller's decision,
so why would I address it? And even if I'd wanted to, I doubt that it would
have been possible. She had the phone receiver glued to her ear during the
whole transaction, engaged in an apparently important, interesting conversation
with her interlocutor on the other side of the line. I duly paid my 400 rubles
and walked up to the first floor.
What a
pleasant surprise to be welcomed by all these familiar artists' works – Goya,
Corot, Constable, Fortuny, Ingres, Courbet, and to discover a few I didn't
know, Virgile Narcisse Diaz de la Pena or Jean-Baptiste Carpeaux. Interspersed among the beautifully framed canvases, were the museum wardens sleeping peacefully in their comfortable, sometimes, uncomfortable, chairs. This is a repeated scene in most Russian museums - grey-haired, sullen-looking, elderly women employed as wardens, openly taking naps on the job without a care in the world. I wondered if the CCTV cameras actually worked as people photographed paintings, and warden dosed away; both usually, utterly forbidden elsewhere.
The
opportunity to take in all those works, colors, scenes, portraits was a
wonderful treat. And it didn't end there. The second floor offered an even
greater variety with Degas's well-known ballerinas among many others, as well as more sleeping babushkas. The third
floor housed the Matisses, Chagalls, Legers, Rousseaus, Picassos, Miros,
Kandinskys. My plate was overflowing, but I kept adding more spoonfuls of art
to it. I couldn't get enough. I also discovered Boris Taslitsky and Utrillo – another wonderful treat. It was just sublime!
I found the
Pushkin Museum to be a manageable, bite-size museum where I was able to spend about
three hours of a very leisurely morning. Although there were other visitors, it
was very comfortable to move around and stand in front of a painting for as
long as I wanted, alone, or sit on the comfortable benches provided in some of
the rooms to contemplate the scenes depicted in the paintings and get lost in
them.
The
abundance of paintings from different eras of French painters, Renoirs, Monets,
Pissaros, Cezannes, as well as a few paintings from Picasso's blue period, all transported me to the Musee d’Orsay in Paris, filled with
paintings of contemporary art, where it is unfortunately almost always crowded.
Similarly the Louvre and the Hermitage, both venues of impossibly long queues, elbowing,
pushing and shoving, where a strong athletic background and a fat wallet seem to
be the entry requirements. Eventually,
you get in after paying a hefty price for an entrance ticket, but you find you
are exhausted and hungry after standing for three hours, or more, in inclement
weather. You need rest, sustenance and refreshment, so you spend a small
fortune in the museum cafeteria recovering and refuelling before you embark on
the viewing tour which you cannot enjoy as a result of all of the above. Not to
mention the merchandising; gift shops selling books, fridge magnets, calendars,
posters, note pads, mouse pads, kitchen towels and every imaginable object with
the print of a well-known work of art on it.
The thought
of the absence of those hurdles created an atmosphere of enjoyable intimacy at
the Pushkin museum; a pleasant contrast to previously exhausting experiences in
over-crowded museums which I have decided not to endure anymore. Despite the
intense revelry of walking around admiring the masterpieces, at
the end of the tour I felt I had room for more.
I could easily have done
another tour, but I chose instead, to just take two of my favorite paintings home
with me. I could look at them every day as they brightened and livened the bare white walls of my apartment, in contrast
with the grey skies I can see, and will be looking at for the next, possibly,
six months. I chose Van Gogh's “The Red Vineyard” and one of the several themes
of Matisse's “The Painter’s Studio”.
The Red
Vineyard, as the title suggests is predominantly red in the foreground. Several
harvesters, both men and women, can be seen hunched over attending to the grapes.
The women are dressed in long skirts, men in pants, a rudimentary farm look
about them, and one distinct figure standing among the workers, holding an umbrella - the
overseer, more than likely. The luxury of an umbrella while the others labor
away under the hot sun! A vividly scorching sun, which occupies the far right
corner of the canvas in a bright yellow, projecting strong, yellow rays
reflected on the river which occupies the bottom right of the canvas. A lucky
fellow is fortunate to be wading in it, possibly freshening up after
several hours of work.
A straight row
of mature, leafy trees with seemingly manicured, triangular big boughs and big,
circular trunks act as a demarcation territory between the vineyard and the main
road occupying the left side of the canvas. A tractor with a lonely driver
missing the fun in the vineyard stands alone in the middle ground, far from the vines –
his only companion is the worker currently unloading a basket of harvested
grapes into the buggy.
A hut,
possibly the workers living quarters can be seen not too far from the
vineyards, whereas far beyond the vineyard, the tractor, and the hut, on the
right, we can see a series of concrete buildings which could be the church, and
vineyard owner’s chateau.
The Painter’s
Studio, a huge wall-size painting showing exactly what the title professes is
also a very colorful scene; a room with a predominantly pink floor, a carpet, a yellow floor mat, walls painted in mauve and a high window which opens onto a garden with leafy
trees, currently closed.
An easel,
several rudimentary stools and coffee tables with ornamental objects have been
placed at different angles. The main object which draws the audience into the
picture, however, seems to be a divider draped with a bright blue blanket with
yellow motifs. It is unbelievably suggestive. What happens behind the divider?
Is the blanket always on the divider, or is it removed at times to be draped
over something else? A body, perhaps? Several vases, which may contain drinking
water, or meant for cleaning have been strategically placed around the room as well. The
bright colors and the cosiness depicted in the room made it difficult to leave it behind.
Both
paintings are currently hanging on the walls of my apartment. The Matisse is in
on the left wall as I walk into my bedroom. It is keeping my bed and bedside tables
company, and the Van Gogh, much smaller, is on the living room wall, just above my desk where
I can see it now as I write. Virtually.