Haim returns to his homeland in Smilovichi from France via Minsk. His memories go back to the events in the Jewish quarter near the Cold Synagogue, which has been standing on the Nemiga River in Minsk for 350 years.

In the foreground, as is typical of his works are "friends from Paris": the Woman in red on a blue background (1928), Eve (1928), the little girl in blue (1935), a student in blue (1937), little girl in blue dress with red collar (1928), prayer (1921), self-portrait Chaim Soutine (1922), seated choirboy (no date) - these are people who went through each of the segments of their creative life, met and parted, and each of them had their own colorful images, history in colors.

Haim arrived in the provincial city of the Russian Empire – Minsk in the "Drawing School" from the remote Jewish town of Smilovichi. Even then, his portraits seemed terrible, ridiculous and ugly, but there was something alluring in them, from which it is impossible to take your eyes off.

On the left is the school for Jewish children (cheder), on the right - the spiritual home of every Jew, which warms in difficult moments of life. The ability to empathize with suffering and comprehend the drama of human existence strengthened Soutine’s faith in a feasible future, which gave him strength and hope for victory - Chaim wholeheartedly wanted to go to Paris, only there he saw his future, which began with a drawing school in Minsk on the Nemiga River.

The company gathered at the main book of the Jews - the Torah. Among the young people is the author himself, «a shy provincial who does not really know how to speak either Russian (Soutine’s native language was Yiddish), or, even more so, French, he seemed to many illiterate ignoramuses. Clumsy, unkempt, with «the eyes of a hunted animal» (Ilya Ehrenburg), wearing a worn coat over his naked body...  «An absolutely wild man», was how one of Soutine’s contemporaries described him. And all those gathered are so different, with different destinies, thoughts, but all came to the warm house of the soul, to restore spiritual strength, but also, perhaps most importantly for little Chaim, he came to remember how he walked hand in hand with his father, brothers and sisters of his numerous family in this warm and always open house, a house that will forever connect with his small homeland – with Belarus.

The title of the third plot is “Self-portrait in the Mirror”. The theme begins with a meeting of the main characters of Ch. Soutine’s paintings at a common table at the mirror in Smilovichi. To create this plot the great works "Self-portrait" (1922) and "Eve" (1928) were used. The artist himself sits beside the mirror, where his self-portrait is reflected. The composition is complemented with a table. The newspaper "Smilovichi byliny" is lying on the table. In addition, the plot contains the traditional felt boots produced by the Smilovichi factory as a symbol that emphasizes the artist’s belonging to the Smilovichi land. Ch. Soutine’s belonging to the Jewish nationality is indicated by the placement of Jewish symbols on the tablecloth, emphasizing the birth of a new life or a new stage in master`s сreative work.

At this time we see the reflection of Eve in the mirror, while the artist himself sits facing the viewer. At the same time, the unnaturalness of the regular reflection and its inconsistency with the usual laws of physics is included into the painting. These details enhance the grotesque nature of the concept, as a symbol of rejection of natural forms. On the table, covered with a tablecloth, there is the same newspaper, which makes it possible to establish the artist’s belonging to the town of Smilovichi. Also the viewer can find all the same artistic symbols of Judaism in the style of another Jewish master of painting - Nathan Altman.

In this plot we have combined the images of Ch. Soutine himself, Eve and Amadeo Modiliani, the close friend of the master. His own self-portrait, made in 1919, was used as a basis for the image. This plot, in combination with the previous two, forms a kind of triptych, united by the same table with a covered tablecloth and a newspaper. At the same time, you can find some French flavor in such elements as the Eiffel Tower and a bottle of French wine. Thus, attention is drawn to the close friendly relations that have developed between the two artists.

The plot also contains the Monyushko-Vankovichi palace, located in Smilovichi, which is intended to emphasize Ch. Soutine`s affection for both Belarusian and French lands. Architectural structures are located in a "falling" state. Thus, we wanted to show that they can be damaged and lost, but deep friendship is timeless and capable of surviving any cataclysms. The architectural composition is completed with the idea of visiting the dead, commemorating their memory. The cemetery gates are shown with the dates indicated on them: the date of birth of Ch. Soutine and the date of his death.

In this plot the general conceptual idea of ​​the exposition is clearly traced - to emphasize the sacred value of the ancient Jewish cemetery located in Smilovichi, as a silent witness of human destinies passed through its land. The view of the cemetery is combined with the image of Ch. Soutine`s painting "Children from school after a thunderstorm" (1939). We called this dramatic plot "Children on the road of sorrow". The children running against the backdrop of tombstones are intended to emphasize the continuity of generations, and a withering tree viewed from behind a dilapidated fence, symbolizes the natural process of life continuation.

Cemetery gates can be seen under heavy leaden clouds, but their antique monumentalism characterizes the antiquity of Judaism, which tries to continue in a group of visitors of the sacred place.

The theme of the ancient Jewish cemetery is also seen in the seventh story which we called "Singers at the Grave." It was based on "Chorist" (1927-1928) and "Girl in Blue" (1938-1939). Young people respectfully stopped at the tombstone of the artist’s father, Solomon Soutine.

The rest of the gravestones do not yet look rickety but it is obvious that the whole cemetery requires additional maintenance. The tombstones are covered with a layer of moss, some of them are completely ruined. At this time, life behind the fence of the cemetery goes on - the seasons change, the trees are preparing for winter.

This plot of our exposition closing the theme of the Jewish cemetery is called "Remembrance" - this is a day of remembrance for the departed ancestors. At the same time, this work is one of the most difficult due to the multitude of portrait components on it. The presented panel contains characters from the famous Ch. Soutine`s paintings in an amazing plot: "A woman lying on a red sofa" (1916); "The Girl in Red" (1919); "Madame X" (1919); "Portrait of Moses Kisling" (1919-1920); "The Green Dress" (1921-1922); "Self-portrait of Amadeo Modiliani" (1919); "Self-portrait of Chaim Soutine" (1922); "Eve" (1928); "Returning from school after a thunderstorm" (1939); "Landscape" (1918).

According to the plot, all the heroes came to the ancient Jewish cemetery to remember the namesake brother of Ch. Soutine, he had never seen but always remembered. Ch. Soutine`s brother was born a year earlier, but died suddenly, and his name - Chaim - passed to the master of Jewish painting. According to Jewish tradition, visitors to the Jewish cemetery did not bring flowers with them. Instead, new stones were laid on the grave, the name Chaim was laid out.

This plot of the exposition, "Breakfast on the Volma", is intended to show Ch. Soutine’s affection for his native places, the Belarusian land. The Volma River and Smilovichi always remain in the thoughts of Ch. Soutine, returning him to his childhood. Then he had to leave his native places, first to Minsk, and then to Western Europe. At the same time, the images testify to the boundless regret of the time when he admired the unique landscapes of his native nature.

When creating this homage “A Woman Entering the Water” (1931), “Little Donkey” (1934), “Woman on a Red Sofa” (1916), “Leaning woman "(1937)," Still life with violin, bread and fish "(1922), "A woman stretched out under a tree" (1934) were used.

In the tenth story, "Parisians in a shoe shop", a story from the"life of Soutine" is shown. New friends who came to the master’s homeland from Paris look into the shop of felt boots. The artel, where all Sutin’s uncles and aunts worked, was organized when little Chaim was still running barefoot around his parents ‘ house, and after a while it became the only felt boots factory in Belarus.

The plot is quite complex due to the large number of participants and the use of symbolic elements: the table set for guests immediately refers to a still life with a fruit bowl and three bottles (1916)

On the wall hangs a tapestry with the name of the store in two typical languages of that time: Belarusian and Hebrew. Under the ceiling you can see a shelf with illustrative samples of products-felt boots. Separately, it is interesting to focus on the guests, or rather on the emotions reflected on their faces. A woman in a blue dress is clearly embarrassed by the new felt boots offered to her, because they are not worn in Paris-portrait of a young girl (1937). The next man, on the contrary, has folded his hands in a joyful prayer gesture and is looking forward to trying on and appreciating all the comforts of soft felt boots-portrait of a praying man (1921). The extreme guest – the most extravagant guest of the stall - a portrait of Oskar Meshchaninov, a sculptor (1924), is waiting for a girl-seller - a Red dress (1924), who will give him felt boots. The central place on the panel is occupied by a portrait - a poor girl (1937), who does not want to listen to stories about all the charms of a natural product and wants, wearing the most beautiful pair of felt boots, to run, dancing in the street.

In the story "The Impermanence of Being", the plot line of the epic narrative is partially interrupted and reveals a special deep understanding of the entire work of Chaim. In the center of the artistic composition, there is no longer a group portrait of Soutine characters. The panel depicts an unhappy girl in a crumpled apron from Soutine’s painting "The Maid" (1930), she will have to cut up the "Bull carcass" (1924). Prepared knives and axes suggest the hard work ahead and create a certain emotional emphasis on what is happening. It’s not a woman’s job at all. In the center of the performance hangs the carcass of a dead animal, which is still dripping and dripping with viscous blood, forming another red puddle on the floor, as a symbol of life and death and a thin line between them.

Unlike all the previous and subsequent stories in this work, there are no hints pointing to the place of the event. This indicates the possibility of widespread dissemination of what is happening-both in Smilovichi and in Paris.

The composition fits seamlessly into the storyline of the epic narrative. Soutine’s "obsession" with writing his Parisian works - skinned bull carcasses - dates back to his childhood in Smilovichi. The scene is inspired by Chaim’s difficult teenage memories, the suffering of a child from a large, poor Jewish family. Little Chaim remembered how his father, in order to simulate another pogrom, killed a chicken and smeared the floor and walls with its blood, scattered feathers, thereby trying to show that their Jewish family had already been punished, so the father tried to protect his children from human violence.

In the memory of the boy, the resentment of the local rabbi who brutally beat his son remained forever. The future master tried to portray a portrait of the butcher, was misunderstood and severely beaten by him.

Such life trials imposed a certain specificity on all of Chaim’s paintings, and especially on portraiture, in which images of traumatized, disfigured, repulsive flesh become ubiquitous. Everything that from an aesthetic point of view, only in its appearance, is defined as ugly and causes rejection and rejection in the ordinary consciousness of Chaim, becomes the subject of purposeful artistic reinterpretation and implementation. In this, Soutine’s skill is unique, he made it self-sufficient and separate for the artistic image, like no other. And the incredible happened: "What is unpleasant to look at, we look with pleasure at images of it, as, for example, at images of disgusting animals and corpses" (Aristotle. Poetics.4.1449 a). The quintessence, the pinnacle of artistic reinterpretation of the ugly is the skinned carcasses of animals.

The last plot of the exposition, called "The Road to Eternity", symbolizes the artist’s difficult life. It is based on Ch. Soutine`s "The Red Staircase at Cana" (1923). At the same time the prototypes of the main characters were ordinary people who were close to Chaim and who played a certain role in his fate. He accepted them into his life in order to capture on his canvases or share his fate with them ...

When creating the homage H. Soutine`s "Self-portrait" (1922), "Mad Woman" (1919), "Cellist" (1916), "Le Rouquin" (1917-1919). ), "Eve" (1928), "Russian" (1917), "Woman in Red" (1923-1924), "Young Man in a Small Hat" (1916), "Mad" ( 1919), "Leaning Woman" (1937) were used.

In the background of the composition, one can see the Eiffel Tower and the Moniuszko-Vankovich Palace in Smilovichi. They “rattle” under the weight of the past years. In 1913, Ch. Soutine leaves the territory of the Russian Empire and Belarus and goes to France. The Eiffel Tower has fallen, which symbolizes the conquest of Paris by H. Soutine and the recognition of his works. The last path of the master is staircase leading to the gates of the last monastery. The persons “standing along the road” are the people most dear to him, who came to “live” his last journey with him.

The thirteenth plot of the story is called "Dead End of Destiny". The story continues with the description of the life of "the poor girl in the crumpled apron" from the twelfth story. 
The panel depicts an adult woman who is sitting in deep contemplation, recalling her past life, which was not at all the way her girlish dreams had pictured it. She sits among the suspended carcasses of meat, with scarlet blood dripping down them, on the same wooden barrel beside which the young beauty's adulthood had once begun. The heavy thoughts visible on her face are visually drawn in, transported to memories associated with the little Jewish boy Chaim. 
The descended soul of the future artist was condemned to a hard fate and an endless stay in ugliness, which Sutin, with his delicate sensual nature, was able to display on his canvases. 
The skinned carcasses exposed to the viewer are both awe-inspiring and repulsive. After all, God has created everything perfect: a perfectly young body, a perfectly living thing. The young artist, continuing his search for the ideal in the creation of the Higher Spirit, crosses the boundary of the living and finds magnificence in the dead. Showing the unfolded carcasses of animals, he seeks to tell of an amazing "jewel box" even after death. 
The not-young woman "goes over" with her gaze the bright drops of blood that have spread in clusters over the suspended carcass. She considers them with tenderness and warmth for the past like jewels: scarlet rubies, red spinels, burgundy garnets, all like the dreams so quickly passed, in which the young girl lived. She rejoiced every day, saturated with the expectation that her cherished wish for the innermost things was about to come true. 
Years passed, next to the barrel on which her father sat, then her husband, and now she too is living out her days. Life comes to an end, the body's frailty suppresses the desire to live. Her soul groans and cries out - her dreams ended without fulfilment, an inescapable reality remains ... What will be tomorrow? Will it ever come for her...
 One day, in a fluke, life turns its other side - the bright Fortune - and brings the unhappy hero to fame. Tired soul, accustomed to look for beauty in the ugly, could not change, and the old woman continues to come back to where it began her journey in the world, continuing to live the memories of the past. Very soon all memories will cut off where they began. Dead end of destiny.
 

At first glance, the presented twelfth plot is completely wild, emotionally repulsive, chilling to an unpleasant shiver: two very strange-looking people, located on top of each other, and around them hang huge half-rotted or only cut, skinned carcasses of slaughtered cattle. There is something inexplicable and confusing about the emotions that appear. The image both repels and fascinates in an amazing way, attracts – you want to look at the little things, at the drops of blood, and at the same time "hear" all the dying sounds, moans and screams of dying animals. Lingering with your eyes, you catch yourself feeling something extremely unpleasant, rejected by consciousness: the bad smell is already spreading even beyond the plot, the background of the picture has darkened and cracked from the contradictory plot depicted on it.

Little Haim was always afraid of human cruelty, but as if by accident, he always became a witness to it. Being at a tender age, Soutine unwittingly saw the butcher of their establishment cut the throat of a chicken. Haim watched as the bird first struggled and then obediently waited for its fate, as blood splattered and the severed head rolled under the boy’s feet. Little Soutine even then seemed to understand this transition from the living to the dead, to feel this borderline state of mind and spirit ... Haim rejected with all his consciousness the possibility of harming or crossing this fine line, and his subconscious sought to emphasize it even more, to deepen it even more and to draw it into these fierce, primitive, all-consuming and at the same time narcotic intoxicating emotions and experiences.

Such a fragile state would seem to be a natural process… But it is so difficult to convey the moment of already inanimate matter, still warmed by the bloody tears running through the veins. The red dew is surprisingly beautifully scattered over the places of the skin that has just been removed, the veins are visible in golden iridescences from under the viscous, maroon, heavy mucus that slowly envelops every millimeter of dead flesh.

The butcher, depicted above the master of expression, is executed in the convulsive painting characteristic of Soutine. His face is not very clear – it has long been imprinted with this wild need to kill, to skin, to cut off, to tear off pieces from the still warm carcasses. Haim never went to the meat market alone. He was not afraid of what he saw there, but painfully experienced waves of memories of such a distant, but at the same time desperately close childhood, which did not allow him to go into the clear sea of the future, but, on the contrary, pulled him lower and lower – to the very bottom of childhood emotions and experiences. The master was clearly ill with his old, crude complexes of an eternally hungry, frightened, but so gifted, bright, emotionally brilliant Jewish boy who managed to escape from the small town of Smilovichi and conquer Paris. But along with all his fears, stretching from childhood, he went down the "Stairs to eternity".»…

When creating the homage composition, the following works were used: Soutine, as: "Carcass" (1920), "Carcass of a bull" (1924), "Piece of Carcass" (1923), "Skinned Carcass" (1925).

With this phantasmagoric plot, we wanted to convey the feelings of X. Sutin, who, upon arrival in Minsk, recalls the years of study, but these memories pass through the prism of professional skills. The indelible impressions experienced by the master at the moment when he first got acquainted with the works of E. Munch pop up in his memory. Such impressions returned with a new force, due to the recent loss of a loyal friend-A. Modigliani. But Chaim Soutine, having accepted the brush from Modigliani’s hands, is not going to stop – there are still many unrealized plans ahead…

The eleventh plot was called "Mental Connection". The title of the work itself is intended to emphasize the spiritual closeness of the empathized feelings of two great masters who worked in one comparable period of time: Chaim Soutine and Edvard Munch. In the work, we see two human beings who are united by a common form of hypertrophied figures, faces, and bodies. The emphasized emotional background becomes a factor of unity of the figures. The painting is overflowing with the stress experienced by both figures, which has such power that it transforms the natural background into a bloody glow.

The homage is intended to emphasize the mental connection and emotional state of Chaim Soutine, who returned in his memories to the origins of his entry into the world of art. The youth memories of studying at the Yakov Kruger school in Minsk, acquire their meaning in the master’s sense of the bright events experienced, which led to all the further, repeatedly suffered dedication to finding their way in art. It was this devotion that managed to neutralize the bitterness of the loss of a close friend – Amedeo Modigliani, but it did not completely drown out the cry of the soul, the drama of human life.

"Mental Connection" is a plot that combines many of the fine threads of a sacrificial life, where the pain and suffering of the external and internal human worlds are shown as inseparable parts of a single whole. It is the conglomerate of such versatile elements that will later become Chaim Soutine’s life’s work, and its very painful dramatic flow will turn into unique masterpieces laid on the canvas of art.

In the work of Edvard Munch, Soutine found the style and handwriting that most closely corresponded to what Haim himself wanted to write, but did not yet know how to do it. Seeing this work by E. Munch, the young artist acquired the key to his own vision of the described human passions. Further work of H. Soutine will only emphasize his closeness to the understanding of art that E. Munch possessed. Unlike X. Soutine, E. Munch was a pioneer in this path. This is easily captured in his picture. The picture" The Scream " subconsciously revived in the memory of H. Soutine emotionally experienced memories of his first steps in art, made at the school of J. Kruger.

Used paintings: "Self-portrait"(1916);" Self-portrait at the Curtain "(1917) E. Munch - "Cry"; "Praying Man" (1921)

The fifteenth plot, entitled "Litvaki near the Sharp Gate in Vilna", completes the phantasmagoric story of Khaym’s return to his small homeland in Smilovichi near Minsk and at the same time opens the curtain on his further journey to the city of Vilna (now Vilnius).

Sutin, who was still a boy, went to Vilna after graduating from the Kruger drawing school in Minsk.  The desire to learn professional skills forever interrupts the connection with the small Homeland, he will never return to the Minsk region. Sutin takes a decisive step towards the knowledge of the European world, in which he continues to remember his creative path, namely, returning to his homeland through the drawing school in the city of Vilna, founded by the artist and outstanding teacher Ivan Trutnev. 

The school in Vilna was not only one of the best schools of painting in the Russian Empire, where Haim received an art education, met future famous artists of the Paris school: Pavel Kremen, Mikhail Kikoin, etc., but also became a school of life with the hardest trials, a school that had everything from deep disappointment in fate to a real, sincere, bright friendship for the entire creative path of the master. And during this period of their formation in the new world, there is a break in the established rules that go back to their distant childhood, Soutine slowly turns from Judaism towards the "new faith".

As in the previous stories, Haim is presented next to his friend Pinchus Kremen, a fellow beggar in the international Parisian hostel "Beehive". Until the tragic moment for both friends, they go hand in hand in their work, maintaining a lively interest in learning a new, opened path with amazing mentors in painting. They are young and full of vitality, but the lack of money for the most necessary things, constant hunger, breaks this friendship. At the most tragic moment of his life, Flint was close by and managed to pull Soutine out of the noose that the great future master had thrown on himself because of the desperate hopelessness of life. Pinchus had saved him, and he had taken his former friend’s action as a personal insult. When asked, "What do you think of Soutine?" Flint would clench his thin lips convulsively, twitch his head nervously, and, flashing his sharp gray eyes from under his thick brows, like a predatory animal, would answer in an impetuous tone, " What? Soutine? I’ve never heard of him... I don’t know… There is no such artist!..»

In the presented panel, we revived the lost friendship of the painters, brought them back to the creative environment, where " Pinchus Kremen and Chaim Soutine always sat in the darkest corner. Soutine had the eyes of a hunted animal, perhaps from hunger. No one paid any attention to him. Was it possible to imagine that the works of this puny teenager, a native of the Belarusian town of Smilovichi, would be dreamed of by museums all over the world?" (ab. Ilya Ehrenburg).

In the panel used: The icon of Ostrobramskaya; M. Dobuzhinsky "Sharp Brama" (1914); H. Soutine "Self-portrait at the curtain" (1917); P. Kremen "Self-portrait".

The series of marble panels "Wandering through Montparnasse" is represented by 12 works. In each of the works, we will see a tandem of thoughts and creativity of two great masters, former residents of Ulia.
- Hi, Haim, you look bad today, however, as always, did not sleep again and wrote all night?
- I was waiting for you to come, Modi, you're right, writing. Did you bring your sketches? We agreed that we would try to combine our work and present them in a new way...
Soutine looked completely unimportant, and it is understandable, the maestro of the brush has not slept for several nights, taking his heroes out on glued canvases. The poor Jewish youth was extremely unstable morally, he could be taken out of balance by any word. But when he wrote, he seemed to be off the ground, he wrote beautiful people, but his special look seemed to see the whole underbelly of the sitter's soul, its whole essence. From that, all of Chaim's paintings have always been a "cold shower" for perception. His subtle personality so sharply caught all the manifestations of mental human torment, suffering, that it fit

- Of course, my friend, I brought everything, now I will create, and you watch the birth of my masterpiece!
Sitting in such a familiar place for Sutin - in the corner of the room, he fell asleep. And Amadeo worked on an old, rewritten and stitched canvas. And he knew for sure that their creativity together with Haim would break through all the gray masses and all stubborn beliefs and blow up the entire bohemian world.
Amadeo, such a bright charismatic Italian, somehow quietly became a friend of a lost, mossy in consciousness, poor Jewish boy from a large Jewish family. Unlike Sutin Modigliani, who focused only on his painting, he was almost always in only two states, either he was drunk or burned in love, but he may have been in the third - he drank in love, experiencing difficult heart moments. So now Modi brought a sketch of a young nymph in the features of which the grace of Akhmatova, such an unattainable star, was guessed. his Muses.

A gorgeous girl lies on the velvet cloth of a gambling table, turning away from the viewer. She is a mystery, who is she? Does the viewer sitting opposite Sutin know her, who so stubbornly does not take his eyes off her. He seemed to plunge into a trance of memories, where life gave meetings with his beloved woman in the minutes in which he lived, created... - "Oblivion of love."
Flying over the table are cards like autumn leaves of memories. Each card has its own mysterious meaning, together forming a winning combination - "Flash Modigliane."

The series of marble panels "Wandering through the casino of Montparnasse" is represented by 12 works. In each of the works, we will see a tandem of thoughts and creativity of two great masters - former residents of Ulia.

- Hi, Haim, you look bad today, however, as always. Did you sleep again and write all night?

- I was waiting for you to come, Modi, you're right, writing. Did you bring your sketches? We agreed that we would try to combine our work and present them in a new way...

Soutine looked completely unimportant, and it is understandable: the maestro of the brush has not slept for several nights, taking out his heroes on glued canvases. The poor Jewish youth was extremely unstable morally, he could be taken out of balance by any word. But when he was creating, it was as if he was coming off the ground. He wrote beautiful people, but his special look seemed to see the whole underbelly of the sitter's soul, its whole essence. From that, all of Chaim's paintings have always been a "cold shower" for perception. His subtle personality was strikingly sharp in catching all manifestations of mental human torment

Sitting in such a familiar place for Sutin - in the corner of the room, he fell asleep. And Amadeo worked on an old, rewritten and stitched canvas. And he knew for sure that their creativity together with Haim would break through all the gray masses, stubborn beliefs and blow up the entire bohemian world.

Amadeo, such a bright charismatic Italian, somehow quietly became a friend of a lost, suede in his mind, poor Jewish boy from a large family. Unlike Sutin, focused only on his painting, Modigliani was almost always in only two states: either he was drunk, or he was in love with unconsciousness. But he may have been in the third - he drank in love, experiencing difficult heart moments. So now Modi brought a sketch of a young nymph, in the features of which the grace of Akhmatova, such an unattainable star of his, his Muse, was guessed.

A graceful girl lies on the velvet cloth of a gambling table, turning away from the viewer. She is a mystery. Does the viewer sitting opposite the table know her by the brush of Soutin, who is so up

The third marble panel immerses us in the mental and psychological scene. Standing behind a naked young lady, a young young man (one of the "friends" of Soutin's life, like the "bride" in reflecting the mirror), plays the girl's fate into the bones. The young young lady, taking advantage of her freshness and youth, offers her beauty, so elegantly registered by A. Modillani, for sale. She so hopes that her happy combination will fall out in this party and she will still become a bride and wife, as in her mental dreams.

The fifth marble panel is presented with a beautiful name - "Charming Bet." A little facts. In 2015, a painting by A. Vodillani was put up for auction, painted by him in 1917-18 with the rather simple title "Lying Naked" and everything would be simple if this canvas had not gone for $170.4 million. This painting is recognized as the most expensive of the authorship of Amadeo.

An art canvas with a languid girl is declared in the game as a "bet." Both players, at the velvet table, are sitting on their toes. Sutin perfectly reflected the state of the human soul. The seated woman is all "rattling" in the Sutin technique from tension and expectation. And here he is - the moment of truth, who now owns the coveted "nude"? The woman crossed her fingers for good luck, the stones freeze in the last back...

The next, the fourth marble panel, is called "Devoted to Passion." The name itself already speaks volumes. Life always takes its course. Once a young seducer "playing cards" with her life, a destiny that offers many road options, but the beauty loses without choosing the right road. Old age came, wisdom came and now the beauty from the past understood a lot, and most importantly, that "endless youth can be betrayed by passion"...

A very interesting content of the presented marble painting with the title "Belated generosity of fortune". How often would each of us like to receive the coveted clover leaf from the elusive Fortune? How often do we find ourselves at the top of her wheel of Fate? So each of Modigliani's nude models was waiting for her finest hour. Each of them, in their naked desires and feelings, was waiting for their rise. And no one wanted to be at the bottom. But Fortune knows no tears and pleas, she is fickle and fickle and comes only to those who persistently "pull her by the sleeve" on themselves.

The plot of the first marble panel "The Call of the Mother" tells us about one painful evening at the home of Soutine's parents in Smilovichi. Not at all old, but tormented by life circumstances, Khaim's mother, Sarah Khlamovna, decided to send a plaintive letter, with a plea for the last meeting with her son after 22 years.

In the eyes of a tired woman who, in such a distant time, held a small screaming bundle in her arms, protected him and gave him what she could, and now with a heavy heart calls him home, asks him to "pay his son's duty" - to come for the last meeting with his mother.

Sarah sat at the table, where at the end of another hard day only a plate of herring was waiting - everything that she and her father could afford. The vulnerable mother's heart was saddened by the thought that the son might not come, succumbing to children's fears of his father.

Zalman, the father of Soutine Jr., stood silently by the wall for some time, looking at the old picture “Russian”, once drawn by his son, and then took a sheet of paper. “My son, I am writing to you in great need. We live very poorly, your sisters are ill, and your mother already sees poorly and, probably, is already living her last days. The cow has been gone for a long time, it was stolen even under the old government, during the next pogrom. It’s hard for me to remember how I beat you, which is why I bitterly repent, but I still think that it did you good - you broke into people, became a master. Don’t waste the money you earn, but save it up and send it to us: we need a cow, the house needs repairs, the boat is leaking, and I need new boots ... "

Of course, Soutine decided to buy a cow and send it home, but he was still thinking about visiting his relatives, he remembered well how his father beat him in childhood, and therefore he was afraid that he would not let him go.