Biography

VOLOSHIN, MAKSIMILIAN ALEKSANDROVICH (pseud.; real name Kirienko-Voloshin) (1877−1932), Russian poet, artist, literary critic, art critic. Born May 16 (28), 1877 in Kyiv, paternal ancestors - Zaporizhzhya Cossacks, maternal ancestors - Russified in the 17th century. Germans. At the age of three he was left without a father, childhood and adolescence passed in Moscow. In 1893, mother acquired land plot in Koktebel (near Feodosia), where Voloshin graduated from high school in 1897. Enrolling in Faculty of Law Moscow University, got involved in revolutionary activity, for involvement in the All-Russian student strike (February 1900), as well as for "negative worldview" and "a tendency to all kinds of agitation" was suspended from school. In order to avoid other consequences, in the autumn of 1900 he went to work on the construction of the Tashkent-Orenburg railway. Voloshin later called this period “the decisive moment in my spiritual life. Here I felt Asia, the East, antiquity, relativity European culture».

Nevertheless, it is precisely the active involvement in the achievements of the artistic and intellectual culture Western Europe becomes his life purpose starting with the first travels 1899−1900 to France, Italy, Austria-Hungary, Germany, Switzerland, Greece. He was especially attracted to Paris, in which he saw the center of European and, therefore, universal spiritual life. Returning from Asia and fearing further persecution, Voloshin decides to "go to the West, go through the Latin discipline of form."

Voloshin lives in Paris from April 1901 to January 1903, from December 1903 to June 1906, from May 1908 to January 1909, from September 1911 to January 1912, and from January 1915 to April 1916. visits happen in both Russian capitals and lives in his Koktebel "poet's house", which becomes a kind of cultural center, a haven and a resting place for the writers' elite, "Cimmerian Athens", in the words of the poet and translator G. Shengeli. AT different time V. Bryusov, Andrei Bely, M. Gorky, A. Tolstoy, N. Gumilyov, M. Tsvetaeva, O. Mandelstam, G. Ivanov, E. Zamyatin, V. Khodasevich, M. Bulgakov, K. Chukovsky and many other other writers, artists, artists, scientists.

Voloshin made his debut as a literary critic: in 1899 the journal Russkaya Mysl published his small reviews without a signature, and in May 1900 a large article In Defense of Hauptmann appeared there, signed “Max. Voloshin" and representing one of the first Russian manifestos modernist aesthetics. His further articles (36 on Russian literature, 28 on French, 35 on Russian and French theater, 49 on events cultural life France) proclaim and affirm artistic principles modernism, introduce new phenomena of Russian literature (especially the work of "younger" symbolists) into the context of modern European culture. “Voloshin was needed these years,” Andrey Bely recalled, “without him, the rounder sharp corners, I don’t know how the sharpening of opinions would end ... ”. F. Sologub called him “the questioner of this age”, and he was also called the “answering poet”. He was a literary agent, expert and intercessor, entrepreneur and consultant for the Scorpio and Grif publishing houses and the Sabashnikov brothers. Voloshin himself called his educational mission as follows: "Buddhism, Catholicism, magic, Freemasonry, occultism, theosophy ...". All this was perceived through the prism of art - the "poetry of ideas and the pathos of thought" were especially appreciated; therefore, “articles similar to poetry, poems similar to articles” were written (according to the remark of I. Ehrenburg, who dedicated an essay to Voloshin in the book Portraits contemporary poets(1923). At first, few poems were written, and almost all of them were collected in the book of Poems. 1900−1910 (1910). The reviewer V. Bryusov saw the “hand of a real master”, “jeweler” in it; Voloshin considered his teachers the virtuosos of poetic plasticity (as opposed to the "musical", Verlaine direction) T. Gauthier, J. M. Heredia and other French "Parnassian" poets. This self-characterization can be attributed to the first and second, unpublished (compiled in the early 1920s) collection Selva oscura, which included poems from 1910-1914: most of them were included in the book of the chosen Iverny (1916). From the beginning of World War I, Voloshin's clear poetic reference point was E. Verhaern, whose translations by Bryusov were subjected to crushing criticism in an article by Emil Verhaern and Valery Bryusov (1907), whom he himself translated "in different eras and with different points vision” and the attitude to which was summed up in the book by Verharn. Fate. Creation. Translations (1919). Quite consonant with Verhaarn's poetics are the poems about the war that made up the collection Anno mundi ardentis 1915 (1916). Here the techniques and images of that poetic rhetoric were practiced, which became a stable characteristic of Voloshin's poetry during the revolution, civil war and subsequent years. Some of the poems of that time were published in the collection Deaf and Dumb Demons (1919), some under the conditional unifying title Poems about Terror was published in Berlin in 1923; but for the most part they remained in manuscript. In the 1920s, Voloshin compiled the books The Burning Bush from them. Poems about war and revolution and the Ways of Cain. Tragedy material culture. However, in 1923 the official persecution of Voloshin began, his name was consigned to oblivion, and from 1928 to 1961 not a single line of his appeared in the press in the USSR. When in 1961 Ehrenburg respectfully mentioned Voloshin in his memoirs, this caused an immediate rebuke from A. Dymshits, who pointed out: "M. Voloshin was one of the most insignificant decadents, he ... reacted negatively to the revolution." Voloshin returned to the Crimea in the spring of 1917. “I don’t leave it anymore,” he wrote in his autobiography (1925), “I don’t escape from anyone, I don’t emigrate anywhere ...”. “Not being on any of the fighting sides,” he said earlier, “I live only in Russia and what is happening in it ... I (I know this) need to stay in Russia to the end.” His house in Koktebel remained hospitable throughout the civil war: they found shelter and even hid from persecution "both the red leader and white officer", as he wrote in the poem The Poet's House (1926). The "Red Leader" was Bela Kun, after the defeat of Wrangel, he ran the pacification of the Crimea through terror and organized famine. Apparently, as a reward for harboring him, Voloshin was given Soviet power the house is saved and relative safety is provided. But neither these merits, nor the efforts of the influential V. Veresaev, nor the pleading and partly repentant appeal to the all-powerful ideologist L. Kamenev (1924) helped him break into the press. "Verse remains for me the only way to express my thoughts," wrote Voloshin. His thoughts rushed in two directions: historiosophical (poems about the fate of Russia, often taking on a conditionally religious coloring) and anti-historical (the cycle of the Ways of Cain imbued with the ideas of universal anarchism: “there I formulate almost all my social ideas, for the most part negative. The general tone is ironic. The inconsistency of thoughts characteristic of Voloshin often led to the fact that his poems were perceived as high-sounding melodic declamation (Holy Russia, Transubstantiation, the Angel of Times, Kitezh, the Wild Field), pretentious stylization (The Tale of the Monk Epiphanius, Saint Seraphim, Archpriest Avvakum, Dmetrius the Emperor) or aestheticized speculations (Thanob, Leviathan, Cosmos and some other poems from the cycle of the Ways of Cain). Nevertheless, many of Voloshin's poems of the revolutionary era were recognized as accurate and capacious poetic evidence (typological portraits of the Red Guard, Speculator, Bourgeois, etc., the poetic diary of the Red Terror, the rhetorical masterpiece Severovostok and such lyrical declarations as Readiness and At the bottom of the underworld) . The activity of Voloshin, an art critic, ceased after the revolution, but he managed to publish 34 articles about Russian fine arts and 37 for French. His first monographic work on Surikov retains its significance. The book Spirit of the Gothic, on which Voloshin worked in 1912-1913, remained unfinished. Voloshin took up painting in order to professionally judge the fine arts - and turned out to be a gifted artist, watercolor Crimean landscapes with poetic inscriptions became his favorite genre. Voloshin died in Koktebel on August 11, 1932.

Maximilian Aleksandrovich Voloshin ( real name Kirienko-Voloshin) (1877-1932) - Russian poet, artist, literary critic and art historian. He comes from Kyiv. At the age of 3 he lost his father. Mother in 1893 bought land in Koktebel, so the boy studied and graduated from the local gymnasium in 1897. While studying at Moscow University as a lawyer, he joined the revolutionaries, which was the reason for his dismissal. To avoid further repressions, in 1900 he went to the construction site of the Tashkent-Orenburg railway. Here there was a turning point in the outlook of the young man.

Numerous travels across Europe with frequent stops in his beloved Paris alternate with visits to Moscow, St. Petersburg and Koktebel. As for the latter, Voloshin's house becomes a "poet's house", which gathers not only the literary elite, but also creative people.

Since 1899, Voloshin has been printing critical articles in support of modernism. At first, Voloshin had little poetry. All of it fit in the collection "Poems 1900−1910 (1910)". Many of his works remain unpublished. But V. Bryusov was able to discern the talent.

Since 1923, Voloshin has been persona non grata. None of the print media Soviet Union From 1928 to 1961 there was not a word about Voloshin. The writer returned to Crimea in 1917 and remained to live in his "poet's house", where he received various disgraced friends and comrades. Voloshin's poetry of this period is either universally anarchic or historiosophical. As an art critic, Voloshin was exhausted after the revolution. Although he managed to print 71 articles about the fine arts of Russia and France. The monograph dedicated to Surikov is very significant work. Voloshin worked on the work "The Spirit of the Gothic" in 1912-1913, but never completed it. Voloshin decided to paint pictures in order to plunge into the world of fine arts, but he turned out to be a rather talented artist. He liked to draw landscapes of the Crimea and leave poetic inscriptions on them. The writer died in August 1932 in Koktebel.

Maximilian Alexandrovich Voloshin (real name Kiriyenko-Voloshin; 1877-1932) was born in Kyiv into a family of a lawyer, his mother, Elena Ottobaldovna, nee Glazer, was engaged in translations. After the death of her husband, E. O. Voloshin and his son moved to Moscow, and in 1893 - to the Crimea.

In 1897 he entered the Faculty of Law of Moscow University (he completed two courses), at which time he began to publish bibliographic notes in the journal Russkaya Mysl. Participated in student riots, which attracted the attention of the police (establishing surveillance, perusal of letters). He makes his first trips abroad, in order, in his words, "to know the whole of European culture in its original source."

In the autumn of 1900 he leaves for Central Asia and in “the steppes and deserts of Turkestan, where he drove camel caravans” (during surveys for the construction of the Orenburg-Tashkent railway) he experiences a vital turning point: “the opportunity to look at the entire European culture retrospectively - from the height of the Asian plateaus.” He publishes articles and poems in the Russian Turkestan newspaper. In the spring of 1901 - again in France, listens to lectures at the Sorbonne, enters the literary and artistic circles of Paris, educates himself, writes poetry.

Returning to Moscow in early 1903, he easily becomes "his own" in the symbolist environment; starts publishing. From that time on, living alternately at home, then in Paris, he does a lot to bring Russian and French art closer together; Since 1904, from Paris, he regularly sends correspondence for the newspaper Rus and the magazine Vesy, and writes about Russia for the French press.

In April 1906, he marries the artist M. V. Sabashnikova and settles with her in St. Petersburg, in the same house where the famous “tower” salon of Vyacheslav Ivanov was (their complicated relationship reflected in many works of Voloshin); in the summer of 1907, after a break with his wife, he wrote the cycle Cimmerian Twilight in Koktebel.

The first collection of "Poems. 1900-1910" came out in Moscow in 1910, when Voloshin became prominent figure in literary process: an influential critic and established poet with a reputation as a "strict Parnassian". In 1914, a book of selected articles on culture, Faces of Creativity, was published; in 1915 - book passionate poems about the horror of war - "Anno mundi ardentis 1915" ("In the year of the burning world 1915"). At this time he is more attention devotes to painting, paints watercolor landscapes of the Crimea, exhibits his works at the exhibitions of the World of Art.

After February Revolution the poet practically lives permanently in the Crimea, compiles a collection of selected "Iverni" (M., 1918), translates Verkharn, creates a cycle of poems "The Burning Bush" and a book philosophical poems"The Ways of Cain" (1921-23), where the image of a desecrated, tortured homeland arises - "Russia crucified". Since the mid-1900s, Voloshin's friends, literary youth, have been gathering in Koktebel, and his house has turned into a kind of center of artistic and artistic life.

My house Voloshin bequeathed to the Union of Writers.

Maksimilian Voloshin, poet, artist, literary critic and art critic. His father, lawyer and collegiate adviser Alexander Kirienko-Voloshin, came from a family Zaporozhye Cossacks, mother - Elena Glazer - from the Russified German nobles.

Voloshin's childhood passed in Taganrog. The father died when the boy was four years old, and the mother and son moved to Moscow.

“The end of adolescence is poisoned by the gymnasium,” wrote the poet, who did not enjoy studying. But he devoted himself to reading with rapture. First Pushkin, Lermontov, Nekrasov, Gogol and Dostoevsky, later Byron and Edgar Allan Poe.

In 1893, Voloshin's mother purchased a small plot of land in the Tatar-Bulgarian village of Koktebel and transferred her 16-year-old son to a gymnasium in Feodosia. Voloshin fell in love with the Crimea and carried this feeling through his whole life.

In 1897, at the insistence of his mother, Max entered the Faculty of Law at Moscow University, but did not study for long. Having joined the All-Russian student strike, he was suspended from school in 1899 for "a negative outlook and agitation" and exiled to Feodosia.

“My family name is Kiriyenko-Voloshyn, and it comes from Zaporozhye. I know from Kostomarov that in the 16th century there was a blind bandura player Matvey Voloshin in Ukraine, from whom the Poles flayed him alive for political songs, and from the memoirs of Frantseva, that the name of that young man who took Pushkin to the gypsy camp was Kiriyenko-Voloshin. I wouldn't mind if they were my ancestors."

Autobiography of Maximilian Voloshin. 1925

In the next two years, Voloshin made several trips to Europe. He visited Vienna, Italy, Switzerland, Paris, Greece and Constantinople. And at the same time he changed his mind about recovering at the university and decided to engage in self-education. Wanderings and an insatiable thirst for knowledge of the surrounding world became the engine, thanks to which all the facets of Voloshin's talent were revealed.

See everything, understand everything, know everything, experience everything
All forms, all colors to absorb with your eyes,
To walk all over the earth with burning feet,
Take it all in and make it happen again.

He studied literature in the best European libraries, listened to lectures at the Sorbonne, attended drawing lessons in the Parisian workshop of the artist Elizaveta Kruglikova. By the way, he decided to take up painting in order to professionally judge other people's work. AT total he stayed abroad from 1901 to 1916, living alternately either in Europe or in the Crimea.

Most of all, he loved Paris, where he visited often. In this Mecca of art of the early twentieth century, Voloshin communicated with the poet Guillaume Apollinaire, writers Anatole France, Maurice Maeterlinck and Romain Rolland, artists Henri Matisse, Francois Léger, Pablo Picasso, Amedeo Modigliani, Diego Rivera, sculptors Emile Antoine Bourdelle and Aristide Maillol. The self-taught intellectual surprised his contemporaries with his versatility. At home, he easily entered the circle of symbolist poets and avant-garde artists. In 1903, Voloshin began to rebuild a house in Koktebel according to his own design.

“... Koktebel did not immediately enter my soul: I gradually realized it as the true home of my spirit. And it took me many years of wandering along the shores mediterranean sea to understand its beauty and uniqueness…”.

Maximilian Voloshin

In 1910, the first collection of his poems was published. In 1915 - the second - about the horrors of war. He did not accept the First World War, just as he later did not accept the revolution - "the cosmic drama of being." AT Soviet Russia his "Iveria" (1918) and "Deaf and Dumb Demons" (1919) are published. In 1923, the official persecution of the poet begins, he is no longer published.

From 1928 to 1961, not a single line of his was published in the USSR. But in addition to poetry collections, the creative baggage of Voloshin-critic contains 36 articles on Russian literature, 28 on French, 35 on Russian and French theater, 49 on events in French cultural life, 34 articles on Russian fine arts and 37 on art France.

After the revolution, Voloshin permanently lives in the Crimea. In 1924, he created the "Poet's House", reminiscent of its appearance at the same time medieval castle and a Mediterranean villa. The Tsvetaeva sisters, Nikolai Gumilyov, Sergei Solovyov, Korney Chukovsky, Osip Mandelstam, Andrey Bely, Valery Bryusov, Alexander Grin, Alexei Tolstoy, Ilya Ehrenburg, Vladislav Khodasevich, artists Vasily Polenov, Anna Ostroumova-Lebedeva, Kuzma Petrov-Vodkin, Boris Kustodiev, Pyotr Konchalovsky, Aristarkh Lentulov, Alexander Benois...

Maximilian Voloshin. Crimea. In the vicinity of Koktebel. 1910s

In the Crimea, the gift of Voloshin the artist was also truly revealed. The self-taught painter turned out to be a talented watercolorist. However, he painted his Cimmeria not from nature, but from own method the finished image, thanks to which from under his brush came out views of the Crimea, impeccable in form and light. “The landscape should depict the earth on which you can walk,” said Voloshin, “and the sky, on which you can fly, that is, in landscapes ... you should feel the air that you want to breathe in deeply ...”

Maximilian Voloshin. Koktebel. Sunset. 1928

“Almost all of his watercolors are dedicated to the Crimea. But this is not the Crimea that any photographic camera can take, but this is some kind of idealized, synthetic Crimea, the elements of which he found around him, combining them at his own discretion, emphasizing the very thing that in the vicinity of Feodosia leads to comparison with Hellas, with the Thebaid, with some places in Spain, and in general with everything in which the beauty of the stone skeleton of our planet is especially revealed.

Art critic and artist Alexandre Benois

Max Voloshin was a fan of Japanese prints. Following the example of the Japanese classics Hokusai and Utamaro, he signed his watercolors with lines of his own poems. Each color had a special meaning for him. symbolic meaning: red is earth, clay, flesh, blood and passion; blue - air and spirit, thought, infinity and the unknown; yellow - the sun, light, will, self-awareness; purple - the color of prayer and mystery; green - the vegetable kingdom, hope and joy of being.

Voloshin Maximilian Alexandrovich (pseud.; real name Kirienko-Voloshin) (1877-1932), Russian poet, artist, literary critic, art critic. He was born on May 16 (28), 1877 in Kyiv, his father's ancestors were Zaporozhian Cossacks, and his mother's ancestors were Russified in the 17th century. Germans. At the age of three he was left without a father, childhood and adolescence passed in Moscow. In 1893, his mother acquired a plot of land in Koktebel (near Feodosia), where Voloshin graduated from high school in 1897. Enrolling in the law faculty of Moscow University, he became involved in revolutionary activities, for his involvement in the All-Russian student strike (February 1900), as well as for his "negative outlook" and "a tendency to all kinds of agitation" was suspended from school. In order to avoid other consequences, in the fall of 1900 he went to work on the construction of the Tashkent-Orenburg railway. Voloshin later called this period "the decisive moment in my spiritual life. Here I felt Asia, the East, antiquity, the relativity of European culture."

Nevertheless, it was precisely the active familiarization with the achievements of the artistic and intellectual culture of Western Europe that became his life goal starting from the first travels of 1899-1900 to France, Italy, Austria-Hungary, Germany, Switzerland, Greece. He was especially attracted to Paris, in which he saw the center of European and, therefore, universal spiritual life. Returning from Asia and fearing further persecution, Voloshin decides to "go to the West, go through the Latin discipline of form."

Suffering and grief - that's the chisel,
With which death sculpts a man.

Voloshin Maximilian Alexandrovich

Voloshin lives in Paris from April 1901 to January 1903, from December 1903 to June 1906, from May 1908 to January 1909, from September 1911 to January 1912 and from January 1915 to April 1916. In between he wanders "within the ancient Mediterranean world", visits both Russian capitals and lives in his Koktebel "poet's house", which becomes a kind of cultural center, haven and resting place for the writers' elite, "Cimmerian Athens", in the words of the poet and translator G. Shengeli. At different times, V. Bryusov, Andrei Bely, M. Gorky, A. Tolstoy, N. Gumilyov, M. Tsvetaeva, O. Mandelstam, G. Ivanov, E. Zamyatin, V. Khodasevich, M. Bulgakov, K. Chukovsky and many other writers, artists, actors, scientists.

Voloshin made his debut as a literary critic: in 1899, the Russkaya Mysl magazine published his small reviews without a signature, and in May 1900 a large article In Defense of Hauptmann appeared there, signed "Max. Voloshin" and representing one of the first Russian manifestos of modernist aesthetics. His further articles (36 on Russian literature, 28 on French, 35 on Russian and French theater, 49 on events in the cultural life of France) proclaim and affirm the artistic principles of modernism, introduce new phenomena in Russian literature (especially the work of the "younger" symbolists ) in the context of modern European culture. “Voloshin was needed during these years,” Andrey Bely recalled, “without him, the rounder of sharp corners, I don’t know how the sharpening of opinions would have ended…”. F. Sologub called him "the questioner of this age," and he was also called the "answering poet."

He was a literary agent, expert and intercessor, entrepreneur and consultant for the Scorpio and Grif publishing houses and the Sabashnikov brothers. Voloshin himself called his educational mission as follows: "Buddhism, Catholicism, magic, Freemasonry, occultism, theosophy ...". All this was perceived through the prism of art - the "poetry of ideas and the pathos of thought" were especially appreciated; therefore, "articles similar to poems, poems similar to articles" were written (according to I. Ehrenburg, who dedicated an essay to Voloshin in the book Portraits of Modern Poets (1923). At first, few poems were written, and almost all of them were collected in the book Poems. 1900 -1910 (1910) Reviewer V. Bryusov saw "the hand of a real master", "jeweler" in her, Voloshin considered his teachers the virtuosos of poetic plasticity (as opposed to the "musical", Verlaine direction) T. Gauthier, J. M. Heredia and other French "Parnassian" poets. This self-characterization can be attributed to the first and second, unpublished (compiled in the early 1920s) collection Selva oscura, which included poems from 1910-1914: most of them were included in the book of the chosen Iverny (1916).

From the beginning of the First World War, Voloshin's clear poetic reference point was E. Verharn, whose translations by Bryusov were subjected to crushing criticism in the article by Emil Verharn and Valery Bryusov (1907), whom he himself translated "in different eras and from different points of view" and the attitude to summed up in Verhaarn's book. Fate. Creation. Translations (1919).

Quite consonant with Verhaarn's poetics are the poems about the war that made up the collection Anno mundi ardentis 1915 (1916). Here the techniques and images of that poetic rhetoric were practiced, which became a stable characteristic of Voloshin's poetry during the revolution, civil war and subsequent years. Part of the poems of that time was published in the collection Deaf and Dumb Demons (1919), part - under the conditional unifying title Poems about Terror was published in Berlin in 1923; but for the most part they remained in manuscript. In the 1920s, Voloshin compiled the books The Burning Bush from them. Poems about war and revolution and the Ways of Cain. Tragedy of material culture. However, in 1923 the official persecution of Voloshin began, his name was consigned to oblivion, and from 1928 to 1961 not a single line of his appeared in the press in the USSR. When in 1961 Ehrenburg respectfully mentioned Voloshin in his memoirs, this caused an immediate rebuke from A. Dymshits, who pointed out: "M. Voloshin was one of the most insignificant decadents, he ... reacted negatively to the revolution."

Voloshin returned to the Crimea in the spring of 1917. “I don’t leave it anymore,” he wrote in his autobiography (1925), “I’m not fleeing from anyone, I’m not emigrating anywhere…”. “Not being on any of the fighting sides,” he said earlier, “I live only in Russia and what is happening in it ... I (I know this) need to stay in Russia to the end.” His house in Koktebel remained hospitable throughout the civil war: they found shelter and even hid from persecution "both the red leader and the white officer," as he wrote in the poem House of the Poet (1926). The “Red Leader” was Bela Kun, after the defeat of Wrangel, he was in charge of pacifying the Crimea through terror and organized famine. Apparently, as a reward for his harboring Voloshin, under the Soviet regime, the house was kept and relative safety was ensured. But neither these merits, nor the efforts of the influential V. Veresaev, nor the pleading and partly repentant appeal to the all-powerful ideologist L. Kamenev (1924) helped him break into the press.

At first, Voloshin Maximilian Aleksandrovich, a poet, did not write many poems. Almost all of them were placed in a book that appeared in 1910 ("Poems. 1900-1910"). V. Bryusov saw the hand of a "jeweler", a "real master" in it. Voloshin considered his teachers the virtuoso poetic plastics J. M. Heredia, Gauthier, and other "Parnassian" poets from France. Their works were in opposition to Verlaine's "musical" trend. This characteristic of Voloshin's work can be attributed to his first collection, as well as to the second, which was compiled by Maximilian in the early 1920s and was not published. It was called "Selva oscura". It included poems created between 1910 and 1914. Most of them later entered the book of the chosen one, published in 1916 ("Iverny").

Focus on Verhaarn

One can talk for a long time about the work of such a poet as Voloshin Maximilian Aleksandrovich. The biography summarized in this article contains only the basic facts about him. It should be noted that from the beginning of the 1st World War, E. Verharn has become a clear political reference point for the poet. Bryusov's translations of him in an article of 1907 and Valery Bryusov" were subjected to crushing criticism by Maximilian. Voloshin himself translated Verhaarn "from different points of view" and "in different eras." He summed up his attitude towards him in his 1919 book "Verhaarn. Fate. Creation. Translations".

Voloshin Maximilian Aleksandrovich is a Russian poet who wrote poems about the war. Included in the 1916 collection "Anno mundi ardentis", they are quite in tune with Verkhanov's poetics. They processed the images and techniques of poetic rhetoric, which became a stable characteristic of all the poetry of Maximilian during the revolutionary times, the civil war and subsequent years. Some of the poems written at that time were published in the 1919 book Deaf and Dumb Demons, the other part was published in Berlin in 1923 under the title Poems of Terror. However, most of these works remained in manuscript.

official bullying

In 1923, the persecution of Voloshin by the state began. His name was forgotten. In the USSR, in the period from 1928 to 1961, not a single line of this poet appeared in print. When Ehrenburg in 1961 respectfully mentioned Voloshin in his memoirs, this immediately provoked a rebuke from A. Dymshits, who pointed out that Maximilian was one of the most insignificant decadents and reacted negatively to the revolution.

Return to Crimea, attempts to get into print

In the spring of 1917, Voloshin returned to the Crimea. In his autobiography of 1925, he wrote that he would not leave him again, would not emigrate anywhere, and would not be saved from anything. Earlier, he stated that he does not act on any of the fighting sides, but he lives only in Russia and what is happening in it; and also wrote that he needed to stay in Russia until the end. Voloshin's house, located in Koktebel, remained hospitable during the civil war. Here both white officers and red leaders found shelter and hid from persecution. Maximilian wrote about this in his 1926 poem "The Poet's House". The "Red Leader" was Bela Kun. After Wrangel was defeated, he controlled the pacification of the Crimea through organized famine and terror. Apparently, as a reward for hiding Kun under the Soviet regime, Voloshin was kept his house, and also provided relative safety. However, neither his merits, nor the efforts of the influential at that time, nor the somewhat repentant and pleading appeal to L. Kamenev, the all-powerful ideologist (in 1924), helped Maximilian break into the press.

Two directions of Voloshin's thoughts

Voloshin wrote that for him the verse remains the only way expressions of thoughts. And they rushed him in two directions. The first is historiosophical (the fate of Russia, the works about which he often took on a conditionally religious coloring). The second is anti-historical. Here we can note the cycle "Ways of Cain", which reflected the ideas of universal anarchism. The poet wrote that in these works he forms almost all of his social ideas, which were mostly negative. The general ironic tone of this cycle should be noted.

Recognized and unrecognized works

The inconsistency of thoughts characteristic of Voloshin often led to the fact that his creations were sometimes perceived as high-sounding melodic declamation ("Transubstantiation", "Holy Russia", "Kitezh", "Angel of Times", "Wild Field"), aestheticized philosophies ("Cosmos ", "Leviathan", "Thanob" and some other works from "The Ways of Cain"), pretentious stylization ("Dmetrius the Emperor", "Protopope Habakkuk", "Saint Seraphim", "The Legend of the Monk Epiphanius"). Nevertheless, it can be said that many of his revolutionary poems were recognized as capacious and accurate poetic evidence (for example, typological portraits of "Bourgeois", "Speculator", "Red Guard", etc., lyrical declarations "At the bottom of the underworld" and "Readiness ", the rhetorical masterpiece "North East" and other works).

Articles about art and painting

After the revolution, his activities as an art critic ceased. Nevertheless, Maximilian was able to publish 34 articles on Russian fine art, as well as 37 articles on French art. His first monographic work, dedicated to Surikov, retains its significance. The book "The Spirit of the Gothic" remained unfinished. Maximilian worked on it in 1912 and 1913.

Voloshin took up painting in order to judge professionally about the fine arts. As it turned out, he was a gifted artist. Crimean watercolor landscapes, made with poetic inscriptions, became his favorite genre. In 1932 (August 11) Maximilian Voloshin died in Koktebel. short biography it can be supplemented with information about personal life, Interesting Facts from which we present below.

Interesting facts from Voloshin's personal life

The duel between Voloshin and Nikolai Gumilyov took place on the Black River, the same one where Dantes shot at Pushkin. It happened 72 years later and also because of a woman. However, fate saved then two famous poets, which were Gumilyov Nikolai Stepanovich and Voloshin Maximilian Aleksandrovich. The poet, whose photo is presented below, is Nikolai Gumilyov.

They were shooting because of Lisa Dmitrieva. She studied at the course of old Spanish and old French literature at the Sorbonne. Gumilev was the first to be captivated by this girl. He brought her to visit Voloshin in Koktebel. He seduced the girl. Nikolai Gumilyov left because he felt superfluous. However, this story continued after some time and eventually led to a duel. The court sentenced Gumilyov to a week of arrest, and Voloshin to one day.

The first wife of Maximilian Voloshin is Margarita Sabashnikova. With her, he attended lectures at the Sorbonne. This marriage, however, soon broke up - the girl fell in love with Vyacheslav Ivanov. His wife offered Sabashnikova to live together. However, the "new type" family did not take shape. His second wife was a paramedic (pictured above), who cared for Maximilian's elderly mother.