Composition on the picture in the blue space. Composition based on the picture in the blue expanse Rylov in the blue expanse what kind of birds

...Swans are flying over the sea. They almost touch the clouds. The ship is rocking on the waves. Another second, and the harsh rocky coast will be left behind. The sea, merging with the sky, and swans, white as clouds, and bright light - all this dazzling blue expanse inspires an optimistic, joyful mood.

Biography facts.Artist Arkady Alexandrovich Rylov(1870-1939) called his painting - "In the blue space". It was written in 1918. Rylov was then almost fifty years old. Behind him is a long creative path, dozens, hundreds of paintings, almost every one of which is dedicated to nature.

He learned to understand it in a small village near Vyatka, where he was born, and there he painted his first landscape. After studying in St. Petersburg, he again painted trees by the Vyatka River, and then barges on the Volga, and winter fields, and fishermen by the fire, and Crimean rocks, and seagulls over the sea.

In his workshop, a golden robin made a nest, two squirrels jumped from place to place, a hare lived behind the stove. Birds wintered with him, and in the spring he released them into the wild. In one of his self-portraits, Rylov depicted himself with a squirrel, trustingly clinging to him. With this touching affection, it seems, nature itself responded to the artist's love.

Rylov wrote about himself: “I love the sea in all its forms, in all light. I like to listen to his noise, a frantic roar, a calm whisper. I like to sit on the shore, turning my back to the sun, looking into the distance ... The sea ... I love to catch the running waves with a brush, crumbling into white foam on stones and rocks.

Description. Rylov's paintings convey not only the corners of nature that he liked. His landscapes are filled with deep thoughts about life. Very often the artist turned to the motif of birds flying, soaring in the air, scattered over the rocks - gulls and swans. Birds for him are part of nature, the most joyful, ebullient and restless. And just as in folk songs and fairy tales a swan is always a “white swan”, so in Rylov’s paintings the birds are dazzling, radiantly white, and the sea next to them is blue “blue sea”, and it exposed all colors, brought them to the ultimate sound “sun red."

Surprisingly, the artist combines in his paintings what he really saw, the concrete with his dream. And the bird was the embodiment of this dream for the artist. They became the heroes of his best paintings - "In the blue expanse".

Recall the "Petrel" by Maxim Gorky. He was the harbinger of the revolution. Rylov's swans (remember that the picture was created in 1918) in their free unrestrained flight symbolize the joy of overcoming obstacles.

According to an old magazine...

Tags: Rylov “In the blue expanse” essay, description.

Story

Arkady Rylov from a young age was interested in topics related to the sea and river expanses. In particular, he depicted birds near the water (The Seagulls, 1910). Being on the Kama, the artist painted a series of landscapes, of which the most famous is the canvas depicting birds flying over the water - “Swans over the Kama” (1912), which he subsequently repeated several times.

Arkady Rylov painted the painting "In the Blue Space" in 1918.

Description

The painting depicts swans flying over the dark blue wavy surface of the sea against the background of a blue sky and white cumulus clouds.

Beautiful white birds fly easily and freely on their huge wings. They seem to bathe in this blue expanse permeated with light, either floating freely in the air, or occasionally flapping their wings. And just as freely and freely, calmly and smoothly, large cumulus clouds swirl in the air. And below, under them, lines of cirrus clouds, as it were, emphasize the general direction of movement, those horizontal lines on which the basis of the composition is built.

This calm, soaring movement of birds and clouds also corresponds to the calm swaying of small blue waves of heavy ocean water, the light, smooth gliding of the ship. On all sails, he rushes through the waves like a bird, as if only lightly touching the surface of the water. The ship, like the birds, is the personification of the same free, unhindered and silent, flying movement.

This feeling of flying, sliding movement captures the viewer so much, he experiences the flight of birds and the movement of the ship so much that he, as a person who is on a moving object, begins to think that a rocky coast is moving.

At the same time, as if the “floating” nature of the image, it looks very stable, and therefore the movement itself becomes incessant, eternal. The compositional arrangement of objects and color spots creates a balance in the composition and establishes the foreground of the picture. The movement develops from right to left, parallel to the picture plane. It is highlighted with color. The general, blue with greenish, colorful gamut of the picture is built according to the classical principle of weakening and brightening the color in depth. The sky, blue above, holds the foreground, and this is matched by the dark blue color of the water below, with green shadows and white caps. The sky becomes blue lower and deeper, and towards the horizon it turns green, acquiring on the right, above the warm brown color of the rocks, already a completely turquoise hue. Violet shadows on the clouds and the lower planes of the wings of birds well emphasize their illumination.

The movement, starting in the flight of swans at the right edge of the picture, develops along a wavy line, but, reaching the left edge of the picture, it seems to go down in two smaller birds in order to return again through a white sailboat and snow patches on a rocky coast. to the right edge at the bottom of the picture. Small white clouds at the bottom, parallel to the horizon, as well as white breakers on the waves, connecting with the upper row of birds, emphasize the horizontality of the composition.

The movement along the oval, which does not go beyond the limits of the picture, creates a feeling of swinging in the air, expressing this song about serene joy and harmonic freedom. This is where the theme of the canvas is revealed: as if immersing in the “blue expanse” of the birds, the ship, and the viewer himself. The coast is not just outlined in silhouette, but clearly visible - harsh, rocky, covered with eternal snow, indicating that the scene is the far North. The sailboat evokes associations associated with the romance of long-distance voyages, with the sea expanses of the harsh North. The fact that it is this, usually so gloomy and stormy, nature that now smiles so serenely, further enhances the feeling of harmony, joy and happiness that emanates from the picture, the joy of life, combined with calm harmony with the sea and sky. The free flight of swans over the expanses of the sea is permeated with light and air.

This is a landscape-symphony, solemn and joyful, a symphony of light, blue azure. The feeling of life breaking free, the joyful birth of a bright, new world, was expressed by Rylov in his landscape, permeated with light and air ...

Plan

1. The meaning of the title of the painting by Arkady Alexandrovich Rylov "In the blue expanse".

2. The foreground of the picture is swans flying over the dark blue wavy surface of the sea against the blue sky and white cumulus clouds. (The flight of birds is light and free, the transparent air is filled with bright light, the expanse of the sea ...)

3. Medium plan - rocky islands are visible on the horizon, symbolizing the harsh northern nature. A sailboat sailing in the distance emphasizes the romanticism (ideality, dreaminess, optimism) of the seascape. (Snow-covered cliffs or harsh, rocky coast; small blue waves of heavy ocean water; light, smooth sliding of a ship.)

4. Background - lines of cirrus clouds, the endless expanse of sky and sea. (The horizontal direction of the clouds, the azure of the sky, blue with greenish, the colorful gamut of the picture.)

5. Impressions caused by the painting by Arkady Alexandrovich Rylov "In the blue expanse".

Arkady Rylov - this name is associated with the era of the formation of a new art in painting of the Soviet period. According to researchers, it is his works that are the first significant creations of painting of that time. Critics highly appreciate the picture of A. Rylov "In the blue expanse".

It was written in 1918. The picture captivates the viewer with a huge space, life-affirming power. The whole space of the work is occupied by the sea and the sky. Merging into one whole on the horizon, they create the impression of infinity, the boundlessness of the surrounding space. And in this boundless blue expanse, a flock of swans flies across the sky, and a sailboat under snow-white sails sails across the sea.

Swans move towards the sun. Its rays brightly illuminate white proud handsome men, freely and naturally hovering over the blue expanse of the sea. Swans now soar in free flight, then rush forward with one stroke of powerful wings. And above and below them light fluffy clouds float in the same direction.

In the blue expanse of the sea, the movement of birds is echoed by a sailboat flying above the waves, almost without touching them. It seems that he is also floating, only in a different space. Inflated snow-white sails are also brightly lit by the sun, like white swans in the sky and clouds. Together with the ship, birds, clouds, waves covered with white breakers move.

In A. Rylov's painting, everything moves. It seems that the snowy shore is also floating somewhere after everyone, to where the bright sun is, unknown distances. The artist miraculously created an endless movement, full of life and light.

Composition based on the painting "In the blue expanse" Grade 3

Rylov's painting "In the Blue Space" depicts an unusually beautiful seascape. This picture can be admired in the Tretyakov Gallery.

Sunny, summer day and a clear shining sun shines high in the sky. A huge boundless azure sky above the Vistula over the dark blue sea. The water in it plays with the bright rays of the sun and a light breeze blows. The waves are raging in the blue expanse, covering the sea with white foam. A flock of dazzling white swans flies across the gently azure sky. They fly to the sun, to hot climes. The birds fly freely and lightly hovering over the dark blue sea. Snow-white clouds float next to them - light and fluffy. In the distance you can see a boat, it is easily rocked by the waves.

Mountains are visible in the rear. They are lightly shrouded in snow, and the clouds barely touch them. The painting smells like a light breeze. The main colors of this painting are gently azure and snow-white. The main transitions of these colors play well in this picture. The author wanted to convey all the beauty and lightness of this picture. Extraordinary landscapes and color transitions give this picture elegance and sophistication. The whole picture is in motion and the skill of the author shows us this. Seeing this picture, you immediately begin to feel at sea, where a light breeze blows and fluffy clouds gently shine.

Composition based on the painting “In the Blue Space” by A. Rylov

1. Artist A. A. Rylov and his painting "In the Blue Space".
2. Sky.
3. The surface of the water.
4. Swans.
5. The subtlety of the transition of tones and lighting.
6. Exotic in the picture.
7. Standing by the canvas

Arkady Rylov belongs to the artists of the new era. His works are the pioneers of the paintings of that time. Life has changed, and with it the requirements for art have changed.

Critics especially appreciate the painting "In the Blue Space". It was written at the very beginning of the twentieth century. It amazingly combines vast expanses of sea and sky, merging into one on the horizon. This creates the impression of infinity, the boundlessness of space. And in this vast boundless depth of the blue sky, a flock of swans flies, and a sailboat under snow-white sails glides along the smooth surface of the turquoise sea.

Swans move towards the bright sun, which piercingly illuminates white proud birds. They soar effortlessly over the blue expanse of the sea. Their flight resembles a free gliding through the sky. They rush forward, spreading light fluffy clouds with one stroke of powerful wings.

The movement of birds in the sky is repeated by a sailboat flying freely over the waves of the endless sea, almost without touching them. It seems that the swans and the sailboat are in different dimensions. And only the bright sun unites them, illuminating the inflated snow-white sails in the sea and proud white birds in the sky. Together with the yacht, birds and clouds, waves covered with white “lambs” move. Everything moves, and after a while there is a feeling that distant rocks begin to move.

The painting is dominated by blue and white colors. The common blue with turquoise gamut is based on the classical principle of gradual fading of color into the distance and in depth. The sky becomes pale blue, both green and brown rocks appear lower and deeper, and then a completely turquoise hue. Purple shadows give the picture a decorative exotic look. But it should be noted that with all this, the picture does not look like a decorative panel, but looks like a classic work.

Standing by A. A. Rylov’s painting “In the Blue Expanse”, you involuntarily want to be there, on the shore of an amazing sea, where fluffy clouds and a blue sky, a sailboat and proud birds flying south, call with them and evoke a slight sadness.

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The painting by A. A. Rylov “In the Blue Space” is one of those works from which it is customary to begin the history of Soviet painting. And this is absolutely correct, since it is one of the first works of artistic significance created in the Soviet years, and, moreover, those that not only retained their historical significance, but even today attract us directly, give us a living aesthetic experience. Its historical significance and high artistic quality are recognized by all. At the same time, it is the result of many searches and achievements of Rylov. It combines the cheerful epicness of "Green Noise" with the drama of "Swans over Kama" and the lyricism of "Seagulls". The symbolism of the flight of mighty birds over the water acquired a new meaning here. Its strong-willed, active beginning was given not in struggle, but in calm harmony with the sea and sky.



Seagulls. Sunset. 1922
Canvas, oil. 83 x 131 cm
Nizhny Novgorod State Art Museum

Beautiful white birds fly easily and freely on their huge wings. They seem to bathe in this light-filled blue expanse, either floating freely, or turning in the air, or occasionally flapping their wings. And just as freely and freely, calmly and smoothly, large cumulus clouds swirl in the air. And below, below them, the lines
cirrus clouds, as it were, emphasize the general direction of movement, those horizontal lines on which the frame of the composition is built.

This calm, soaring movement of birds and clouds also corresponds to the calm swaying of small blue waves of heavy ocean water, the light, smooth gliding of the ship. On all sails, he rushes through the waves like a bird, as if only slightly touching the surface of the water, all - the personification of the same free, unhindered and silent, flying movement.

This feeling of flying, sliding movement captures the viewer so much, he experiences the flight of birds and the movement of the ship so much that he, as a person who is on a moving object, begins to think that a rocky coast is moving.

At the same time, as if the “floating” nature of the image, it looks very stable, and therefore the movement itself becomes incessant, eternal. The compositional arrangement of objects and color spots creates a balance in the composition and establishes the foreground of the picture. The movement develops from right to left, parallel to the picture plane. It is highlighted with color. The general, blue with greenish, colorful gamut of the picture is built according to the classical principle of weakening and brightening the color in depth. The sky, blue above, holds the foreground, and this is matched by the dark blue color of the water below, with green shadows and white caps. The sky becomes blue lower and deeper, and towards the horizon it turns green, acquiring on the right, above the warm brown color of the rocks, already a completely turquoise hue. Violet shadows on the clouds and the lower planes of the wings of birds well emphasize their illumination. This, essentially plein-air, range is given a decorative character by a strong intensification of colors and coloring of large planes with them.

The movement, starting in the flight of swans at the right edge of the picture, develops along a wavy line, but, reaching the left edge of the picture, it seems to go down in two smaller birds in order to return again through a white sailboat and snow patches on a rocky coast. to the right edge at the bottom of the picture. Small white clouds at the bottom, parallel to the horizon, as well as white breakers on the waves, connecting with the upper row of birds, emphasize the horizontality of the composition.

The movement along the oval, which does not go beyond the picture, is experienced not so much in its aspiration, which would create drama, but in the rhythm of ups and downs, as if swinging in the air, expressing this song about serene joy and harmonic freedom. This is where the theme of how to dive into the "blue expanse" and the birds, and the ship, and the viewer himself comes to light. The coast is not just marked with a silhouette, but is clearly visible - harsh, rocky, covered with eternal snows, as if indicating that the scene of action is the far North. The sailboat evokes associations associated with the romance of long-distance voyages, with the sea expanses of the harsh North. The fact that it is this, usually so gloomy and stormy, nature that now smiles so serenely, further enhances the feeling of harmony, joy and happiness that emanates from the picture. So the effective, narrative beginning, which Rylov, as a rule, previously had a dramatic interpretation, here acquired a bright, calm joy. The harmonious solution of the epic theme was compositionally expressed in the balance of objects and space, their equivalence in the picture.

All this makes the canvas “In the Blue Space” a classic work. It is remarkable that with a strong decorative effect, it does not look like a decorative panel. Although its color scheme and the nature of painting sometimes resemble majolica, the entire structure of the image and image has a purely pictorial, easel depth and complexity. It has that subtlety of transitions of tones and lighting and the possibility of a gradual disclosure of the image, deepening into it, which makes this work of Rylov a true picture. “In the blue expanse” is a synthetic “landscape of the imagination”, composed “from oneself”, not depicting a specific view, although very real, convincing. It even has features of some exoticism, which is Rylov's tribute to the hobby common in those years in literature and art. But, showing with what vivacity Rylov responded to everything new in art, this raid of exoticism in its insignificance, in that it does not in any way determine the content of the picture, testifies that with all these natural responses, Rylov always remained himself and went his own way. , solving problems and ideas that organically and slowly matured in his work.
The painting “In the blue expanse” was a classic result of many years of practice of writing pictures “from oneself”, it was, as it were, the apotheosis of this method bequeathed to Rylov by his teacher Kuindzhi and fully justified it. It was a landscape composition, real and at the same time symbolic. In it, that romantic theme of “wind songs” found its synthetic completion, which in such various variations and for so long developed in the work of Rylov.
The painting “In the Blue Space”, summing up what the artist experienced and felt, became at the same time his first word about the new, about those impressions and experiences, though not yet very concretely realized by him, that the new world that opened up with the October Revolution brought.

This picture is very characteristic of its time and as an indicator of how the figures of pre-revolutionary art entered the new culture, its new tasks.

Like any great work of art, the painting “In the Blue Space” expressed some part of the spiritual atmosphere of its time. With its major, light structure, it is characteristic of the general mood experienced at that time by those artists who welcomed the revolution, like Rylov, and from the very first days began to work with the new government. Brought up in the old world, they, of course, did not clearly imagine either the tasks, or the essence of the revolution that had taken place, or its specific content. But it was for them that cleansing storm that the best people of Russia had long been waiting for. It was the opening of doors to the realm of justice, goodness and light. Finally, what the advanced intelligentsia had been dreaming of for so long has come to pass: “The time has come,” Tuzenbach said in “Three Sisters”, “a mass is approaching us, a healthy, strong storm is preparing, which is already close and will soon blow away laziness from our society, indifference, prejudice to work, rotten boredom. Now all this has happened, the kingdom of ordinary working people was spiritually close to the modest and industrious Rylov, to his democratic artistic convictions. This feeling of life breaking free, the joyful birth of a new, bright world, was expressed by Rylov in his landscape, permeated with light and air, with the motif of the free flight of swans over the sea.

However, it is not necessary to imagine the creation of this canvas as a conscious, deliberate desire to reflect precisely the revolution or to rework the old motif beloved by Rylov in accordance with the “new system of feelings of the young Soviet society,” as some of those who wrote about Rylov believe. Conscious allegorism was alien to the artist in general, and in this picture, in particular, Rylov did not seek to “correspond” to some moods external to him, but he himself experienced them to one degree or another. The point was precisely that the artist organically expressed his personal cheerful state, that the world himself smiled at him and he wanted to convey this smile. Precisely because he himself experienced from a new life, despite all the material, everyday difficulties, a feeling of uplift, because the feelings of anxiety, tense expectation and nervousness that were natural for 1917 were resolved, as it were, with a sigh of relief, he was able to in a landscape image so organically , truly poetic, without intrusive allegories to express their era.

Another thing is that here the artist could have, and the viewer almost certainly had certain associations. The romantic symbolism characteristic of Rylov colored this picture as well. But it is symbolism, not allegory. This was a rather general symbolized birth of a new world, which, as is known, was very characteristic of many poets and artists in their first attempts to reflect and glorify the revolution. But if in plot works, whether it was “The Twelve” by A. A. Blok or “Petrograd 1918” by K. S. Petrov-Vodkin, the symbolism was more clear and definite, then in the landscape it, of course, was more general and vague . It opened up great opportunities for abstract, unconcrete, but basically correct glorification of the revolution. It was a tradition of the mood landscape symbolism developed in literature and art, conveying the “spirit of the era” through landscape associations. And the more direct they were, the more landscape, and not plot, this symbolism was, the more real it became.

Rylov, throughout his work, was characterized by the desire for a landscape-picture of the “grand style”, so to speak, for the “historical landscape”. It is for these purposes that he resorts in the painting “In the Blue Space” to a detailed narrative and to such traditionally poetic motifs as formidable rocks in the ocean, a sailboat running along the waves, etc. He interprets this heroic historical landscape in general, in order to be able to freely convey their dreams, express broad general feelings and experiences. This is a landscape-symphony, a heroic and joyful symphony, a symphony of light, blue azure.
Rylov set himself a very difficult task: to create a heroic landscape. In an atmosphere of revolutionary upsurge, in the atmosphere of the birth of a new world, without even thinking much about the essence of this world, but feeling this heroic, the artist rose to truly pathetic feelings. Nature was revealed to him as a picture of a certain world being, boundless and sublime in the simplicity of its phenomena. The sun shone on her and the winds of the free expanses blew. So Rylov was able to create a new landscape composition in the painting “In the Blue Space”, which could not have been created under other conditions. The revolutionary epoch gave the artist this opportunity, and that is why it itself received its aesthetic expression here.

This is the great fundamental significance and value of Rylov's painting. The era, its social content, received here the expression that is possible for them in landscape painting. Thus, this canvas laid the foundation for Soviet landscape painting and to a certain extent remains to this day a model of a landscape-picture, a landscape that expresses its era.

The painting by A. A. Rylov “In the Blue Space” is one of those works from which it is customary to begin the history of Soviet painting. And this is absolutely correct, since it is one of the first works of artistic significance created in the Soviet years, and, moreover, those that not only retained their historical significance, but even today attract us directly, give us a living aesthetic experience. Its historical significance and high artistic quality are recognized by all. At the same time, it is the result of many searches and achievements of Rylov. It combines the cheerful epicness of "Green Noise" with the drama of "Swans over Kama" and the lyricism of "Seagulls". The symbolism of the flight of mighty birds over the water acquired a new meaning here. Its strong-willed, active beginning was given not in struggle, but in calm harmony with the sea and sky.

Beautiful white birds fly easily and freely on their huge wings. They seem to bathe in this light-filled blue expanse, either floating freely, or turning in the air, or occasionally flapping their wings. And just as freely and freely, calmly and smoothly, large cumulus clouds swirl in the air. And below, below them, the lines
cirrus clouds, as it were, emphasize the general direction of movement, those horizontal lines on which the frame of the composition is built.

This calm, soaring movement of birds and clouds also corresponds to the calm swaying of small blue waves of heavy ocean water, the light, smooth gliding of the ship. On all sails, he rushes through the waves like a bird, as if only slightly touching the surface of the water, all - the personification of the same free, unhindered and silent, flying movement.

This feeling of flying, sliding movement captures the viewer so much, he experiences the flight of birds and the movement of the ship so much that he, as a person who is on a moving object, begins to think that a rocky coast is moving.

At the same time, as if the “floating” nature of the image, it looks very stable, and therefore the movement itself becomes incessant, eternal. The compositional arrangement of objects and color spots creates a balance in the composition and establishes the foreground of the picture. The movement develops from right to left, parallel to the picture plane. It is highlighted with color. The general, blue with greenish, colorful gamut of the picture is built according to the classical principle of weakening and brightening the color in depth. The sky, blue above, holds the foreground, and this is matched by the dark blue color of the water below, with green shadows and white caps. The sky becomes blue lower and deeper, and towards the horizon it turns green, acquiring on the right, above the warm brown color of the rocks, already a completely turquoise hue. Violet shadows on the clouds and the lower planes of the wings of birds well emphasize their illumination. This, essentially plein-air, range is given a decorative character by a strong intensification of colors and coloring of large planes with them.

The movement, starting in the flight of swans at the right edge of the picture, develops along a wavy line, but, reaching the left edge of the picture, it seems to go down in two smaller birds in order to return again through a white sailboat and snow patches on a rocky coast. to the right edge at the bottom of the picture. Small white clouds at the bottom, parallel to the horizon, as well as white breakers on the waves, connecting with the upper row of birds, emphasize the horizontality of the composition.

The movement along the oval, which does not go beyond the picture, is experienced not so much in its aspiration, which would create drama, but in the rhythm of ups and downs, as if swinging in the air, expressing this song about serene joy and harmonic freedom. This is where the theme of how to dive into the "blue expanse" and the birds, and the ship, and the viewer himself comes to light. The coast is not just marked with a silhouette, but is clearly visible - harsh, rocky, covered with eternal snows, as if indicating that the scene of action is the far North. The sailboat evokes associations associated with the romance of long-distance voyages, with the sea expanses of the harsh North. The fact that it is this, usually so gloomy and stormy, nature that now smiles so serenely, further enhances the feeling of harmony, joy and happiness that emanates from the picture. So the effective, narrative beginning, which Rylov, as a rule, previously had a dramatic interpretation, here acquired a bright, calm joy. The harmonious solution of the epic theme was compositionally expressed in the balance of objects and space, their equivalence in the picture.

All this makes the canvas “In the Blue Space” a classic work. It is remarkable that with a strong decorative effect, it does not look like a decorative panel. Although its color scheme and the nature of painting sometimes resemble majolica, the entire structure of the image and image has a purely pictorial, easel depth and complexity. It has that subtlety of transitions of tones and lighting and the possibility of a gradual disclosure of the image, deepening into it, which makes this work of Rylov a true picture. “In the blue expanse” is a synthetic “landscape of the imagination”, composed “from oneself”, not depicting a specific view, although very real, convincing. It even has features of some exoticism, which is Rylov's tribute to the hobby common in those years in literature and art. But, showing with what vivacity Rylov responded to everything new in art, this raid of exoticism in its insignificance, in that it does not in any way determine the content of the picture, testifies that with all these natural responses, Rylov always remained himself and went his own way. , solving problems and ideas that organically and slowly matured in his work.
The painting “In the blue expanse” was a classic result of many years of practice of writing pictures “from oneself”, it was, as it were, the apotheosis of this method bequeathed to Rylov by his teacher Kuindzhi and fully justified it. It was a landscape composition, real and at the same time symbolic. In it, that romantic theme of “wind songs” found its synthetic completion, which in such various variations and for so long developed in the work of Rylov.
The painting “In the Blue Space”, summing up what the artist experienced and felt, became at the same time his first word about the new, about those impressions and experiences, though not yet very concretely realized by him, that the new world that opened up with the October Revolution brought.

This picture is very characteristic of its time and as an indicator of how the figures of pre-revolutionary art entered the new culture, its new tasks.

Like any great work of art, the painting “In the Blue Space” expressed some part of the spiritual atmosphere of its time. With its major, light structure, it is characteristic of the general mood experienced at that time by those artists who welcomed the revolution, like Rylov, and from the very first days began to work with the new government. Brought up in the old world, they, of course, did not clearly imagine either the tasks, or the essence of the revolution that had taken place, or its specific content. But it was for them that cleansing storm that the best people of Russia had long been waiting for. It was the opening of doors to the realm of justice, goodness and light. Finally, what the advanced intelligentsia had been dreaming of for so long has come to pass: “The time has come,” Tuzenbach said in “Three Sisters”, “a mass is approaching us, a healthy, strong storm is preparing, which is already close and will soon blow away laziness from our society, indifference, prejudice to work, rotten boredom. Now all this has happened, the kingdom of ordinary working people was spiritually close to the modest and industrious Rylov, to his democratic artistic convictions. This feeling of life breaking free, the joyful birth of a new, bright world, was expressed by Rylov in his landscape, permeated with light and air, with the motif of the free flight of swans over the sea.

However, it is not necessary to imagine the creation of this canvas as a conscious, deliberate desire to reflect precisely the revolution or to rework the old motif beloved by Rylov in accordance with the “new system of feelings of the young Soviet society,” as some of those who wrote about Rylov believe. Conscious allegorism was alien to the artist in general, and in this picture, in particular, Rylov did not seek to “correspond” to some moods external to him, but he himself experienced them to one degree or another. The point was precisely that the artist organically expressed his personal cheerful state, that the world himself smiled at him and he wanted to convey this smile. Precisely because he himself experienced from a new life, despite all the material, everyday difficulties, a feeling of uplift, because the feelings of anxiety, tense expectation and nervousness that were natural for 1917 were resolved, as it were, with a sigh of relief, he was able to in a landscape image so organically , truly poetic, without intrusive allegories to express their era.

Another thing is that here the artist could have, and the viewer almost certainly had certain associations. The romantic symbolism characteristic of Rylov colored this picture as well. But it is symbolism, not allegory. This was a rather general symbolized birth of a new world, which, as is known, was very characteristic of many poets and artists in their first attempts to reflect and glorify the revolution. But if in plot works, whether it was “The Twelve” by A. A. Blok or “Petrograd 1918” by K. S. Petrov-Vodkin, the symbolism was more clear and definite, then in the landscape it, of course, was more general and vague . It opened up great opportunities for abstract, unconcrete, but basically correct glorification of the revolution. It was a tradition of the mood landscape symbolism developed in literature and art, conveying the “spirit of the era” through landscape associations. And the more direct they were, the more landscape, and not plot, this symbolism was, the more real it became.

Rylov, throughout his work, was characterized by the desire for a landscape-picture of the “grand style”, so to speak, for the “historical landscape”. It is for these purposes that he resorts in the painting “In the Blue Space” to a detailed narrative and to such traditionally poetic motifs as formidable rocks in the ocean, a sailboat running along the waves, etc. He interprets this heroic historical landscape in general, in order to be able to freely convey their dreams, express broad general feelings and experiences. This is a landscape-symphony, a heroic and joyful symphony, a symphony of light, blue azure.
Rylov set himself a very difficult task: to create a heroic landscape. In an atmosphere of revolutionary upsurge, in the atmosphere of the birth of a new world, without even thinking much about the essence of this world, but feeling this heroic, the artist rose to truly pathetic feelings. Nature was revealed to him as a picture of a certain world being, boundless and sublime in the simplicity of its phenomena. The sun shone on her and the winds of the free expanses blew. So Rylov was able to create a new landscape composition in the painting “In the Blue Space”, which could not have been created under other conditions. The revolutionary epoch gave the artist this opportunity, and that is why it itself received its aesthetic expression here.

This is the great fundamental significance and value of Rylov's painting. The era, its social content, received here the expression that is possible for them in landscape painting. Thus, this canvas laid the foundation for Soviet landscape painting and to a certain extent remains to this day a model of a landscape-picture, a landscape that expresses its era.