FARAWAY FROM HOME. Valery Katsuba.


México, D.F: Bindu y Hago Libros ; Moscow : Pitchka, 2020. 50 b/w and color photographic plates, printed on Hahnemuhle Photo Rag (cotton) paper, size 30 x 33 cm and almost all images size 27 x 27 cm. Each of the 50 plates accompanied by little text of 3-5 sentences on verso side, issued in red clam box with band closure with title. "In box, fifty pages A and B and back cover and fifty photographs 30 x 30 cm printed on Hahnemuhle Photo Rag cotton" --Colophon. Includes a pair of black gloves for special handling. Item #113238

Far Away from Home is a story in pictures. The main character is a sailor who once had a house, a native land and love. Love that he could not keep what became a kind of "shipwreck". Thereafter for many years, life tosses the sailor onto foreign shores. In this vast world the sailor thinks that somewhere there in the distance he will find his true happiness, his home. As he swims from one bank to the other, however, he begins to realize that his journey, filled with the temptations of unknown lands, is in fact an ordeal. In his wanderings he gets to know many lands and many people whose aspirations start to remind him of those of his native land. He arrives at an understanding of the unity and integrity of the world and hope is born. The sailor’s escape from himself eventually starts to become a road towards himself, a road home. 2004 - 2014

Valery Katsuba (born July 21, 1965) is an artist working in the realms of photography, video and performance; he also writes stories. His best known photographic series are Phiscultura (2006), The Model: Classic and Contemporary (2018), The Seasons. My Friends (2005). Each was created as a narrative, based on classical traditions in art and literature, and on historical research. To create such photographic series the artist works (as director, choreographer or trainer) with models – athletes, dancers, actors, circus performers, workers or friends. His work can be found in the collections of the Centre Pompidou (Paris), the Russian Museum (St Petersburg), the Museum of the San Fernando Royal Academy of Fine Arts (Madrid) and others. “Russian culture is considered literary; Western culture is seen as visual. Valery combines both qualities: his photographic works are essentially narrative.” Anna Shpakova

Valery Katsuba was born in the village of Sergeevichi (Minsk Region, Republic of Belarus), the son of a forest ranger (Vladislav Katsuba) and the director of the village school (Yanina Katsuba). The second of three sons, his interest in literature, history and art, as well as sport, was shaped in part thanks to the enthusiasm of his teachers. After finishing school at the age of 16, he went to study at the Admiral Makarov Higher Engineering Marine School in Leningrad (now the Admiral Makarov State Maritime Academy, St Petersburg), where he completed a degree in meteorology in the Arctic Faculty with honours. He then commenced postgraduate research under the guidance of Academician Vladlen Adamenko. It was at this time that he met journalist Sergey Kalinin and art historian Catherine Phillips, and under their influence started to work in journalism. He produced pieces for St Petersburg radio and television and for BBC radio and television, and wrote about the art of St Petersburg and Moscow in the age of Perestroika for Kommersant, The Guardian, The Independent, Vogue Paris and others. He gave up his graduate studies, recognising that his vocation lay in art. In the late 1990s, he started to collaborate with Vogue magazine, which set up a Russian edition, also with W Magazine, Elle and others producing photoshoots for renowned photographers such as Arthur Elgort, Neil Kirk, Philip-Lorca di Corcia and stylists Katharina Flohr and Carin Roitfeld. In 2002, he started shooting with his own Hasselblad, a gift from Neil Kirk, who was to become the first collector of his work.

Valery Katsuba started out in the world of photography as a stage director on the eve of the new millennium. For New Year's Eve, marking the turn from 1999 to 2000, he set up a crew that included Andrey Samatuga and Yury Vinogradov, to record the way that the city of St Petersburg was meeting the new millennium. This inspired him to create, that same winter, a series that came to be known as Winter Tales, a collaboration with Yury Vinogradov, Vladislav Mamyshev-Monroe and Evgeny Sorokin. In the archives he researched the ways that the residents of St Petersburg commemorated the arrival of new year 1900, leading to another project, New Year's Festivities. St Petersburg 1900 and 2000, composed of contemporary and archival photographs. This was shown by Olga Sviblova in the Moscow House of Photography that same year.
From 2002, Valery Katsuba moved from producing and directing to taking photographs himself. Seeking to discover connections between all times and spaces, through things that please the eye and the imagination, he produced a series of portraits of friends, The Seasons. My Friends (2000-2005). His aim was to create an impression of timelessness, in order to put the focus on the combined appearance and character of the subject. The Seasons. My Friends was exhibited at the Moscow Museum of Modern Art in 2005. Poetic series of portraits are now one key aspect of the artist's work.

“I have always been interested in the relative non-variability of landscapes — whether it be a natural or architectural landscape — and historical events passing through them, human fates, and faces. I ask my heroes to stop. And they stop in front of the camera as if in front of the infinity of time and space, exposing their greatness, beauty and fragility. That is how I wish to remember them and how I wish to talk about them, and therefore I photograph them like this, assuming that the artistic photograph will capture the elusiveness and the emotions it aroused in me. Or at least I do everything I can to save them.” Valery Katsuba

The other trend in the artist’s work is determined by the influence of the academic, realistic tradition in art. Under this influence he produced two series of photographs, Phiscultura (Physical Culture) and Air Flight. Phiscultura premiered in Madrid at the Society of Fine Arts (Circulo de Bellas Artes) in 2006. It is a visual narrative on the influence on contemporaries of trends in sport and physical education over the past 100 years. Air Flight (2010-16) is a series of photos and videos capturing Moscow aerial gymnasts.

“Valery Katsuba is a master of aesthetics, and he describes the human body with the precision and elegance of Praxiteles; but within each of those beautiful bodies, he finds a beating heart.” Andrew Solomon

The influence of artistic academies is obvious in The Model: Classic and Contemporary, a series that combines photographs taken at the St Petersburg Academy of Fine Arts (the shoot curated by Semen Mikhailovsky), at the Museum of the San Fernando Royal Academy in Madrid (the shoot curated by José Maria Luzon), and at the Academy of San Carlos and the Museum of San Carlos in Mexico City (curated by José Manuel Springer). In this series, Valery Katsuba establishes a dialogue between ancient cultures, the cultures of the Renaissance, the Baroque, the Neoclassical, and the Modern. Amidst copies of ancient sculpture at the Academy of St Petersburg, he photographs contemporary dancers of the Mariinsky Theater. Amidst copies of ancient sculpture in the Royal Academy of Fine Arts of Madrid, he photographs athletes from the Spanish Olympic team; ballerinas from the National Dance Company are set against the background of paintings by Francisco Goya.

“There is nothing more attractive than the dream of perfection and truth. When Valery Katsuba’s camera captures ballet dancers and dancers in front of Goya’s paintings or copies of antique sculptures... it connects art and life. No triumph can be higher than the vital aspiration of a strong and at the same time fragile human nature.” Antonio Bonet

In Mexico City, next to copies of sculptures from ancient Greece and Rome at the Academy of San Carlos and the Museum of San Carlos, he photographed the traditional Indian ball game and Conchero dancers.

“The result of this spontaneous collaboration was stunning: for the first time in one work of art, in one set scene, one can observe samples of classical aesthetics (such as a Renaissance sculpture or a copy of ancient sculpture) and Conchero dancers posing as guardians of the culture of the Indians of the continent.” José Manuel Springer

“Valery Katsuba reminds us (Mexicans) of who we are - the merging of races. His exhibition is innovative, and this is a stylistic exercise outside the usual norms." Carmen Gaitán

All three parts of the series The Model: Classic and Contemporary were shown in the National Museum of San Carlos in Mexico City in 2018-19, including staged photographs of the educational process taken in the Academies of St Petersburg, Madrid and Mexico City.

The artist has also worked on special projects with companies such as MaxMara and Christian Dior, and on two joint projects with the artist Vladislav Mamyshev-Monroe (Every Passion is Blind and Wild, 2001 and Metamorphoses of the Monarch for St Petersburg Early Music Festival supported by Marc de Mauny and Andrey Reshetin, 2005); in collaboration with Katya Galitzine he directed and produced the 60th birthday party of Mick Jagger in the Yusupov Palace in St Petersburg, for which he staged a performance with acrobats. He has also staged a performance at the National Museum of San Carlos (Mexico City) and produced a series of family portraits. In 2015, at the St Petersburg Academy of Arts he presented a project that is still in progress, Far Away From Home, the tale of a sailor getting to know the world, consisting of a series of photographs and short stories.

Valery Katsuba currently lives and works in St Petersburg and Madrid.

Museum of the San Fernando Royal Academy of Fine Arts, Madrid, Spain
National Centre for Arts and Culture Georges Pompidou, Paris, France
State Russian Museum, St Petersburg, Russia
Moscow Museum of Modern Art, Moscow, Russia
Centre for Contemporary Art of the 2nd of May (CA2M), Mostoles, Madrid, Spain
Multimedia Art Museum, Moscow, Russia
National Centre for the Plastic Arts, Paris, France
Korea Photo Printing Promotion Association, Seoul, Korea
Central State Archive of Film and Photo Documents, St Petersburg, Russia
Museum of the New Academy of Fine Arts, Russia, St Petersburg

2018–2019 The Model: Classic and Contemporary (curated by José Manuel Springer, supported by the Sarah Vintz Foundation and the Frolov Gallery), National Museum of San Carlos, Mexico City, Mexico
2017 The Academic Tradition: St Petersburg – Madrid (curated by Semyon Mikhailovsky, with the support of the Frolov Gallery), Museum of the San Fernando Royal Academy of Fine Arts, Madrid, Spain
2016 Eight Stories (curated by Anna Shpakova), Gallery (U neskladovaya), Minsk, Belarus
2016 100 Years Later (curated by Agnes Rammant), University of Leuven, Leuven, Belgium
2015 Selections from Far Away From Home (with the support of the Frolov Gallery), St Petersburg Academy of Arts, St Petersburg, Russia
2014 100 Years Later (curated by Semyon Mikhailovsky, with the support of the Sputnik gallery), parallel program MANIFESTA 10 of the European Biennale of Contemporary Art, St Petersburg Academy of Arts and the Research Museum of the Russian Academy of Arts, St Petersburg, Russia
2014 Morning, St Petersburg Academy of Arts and the Research Museum of the Russian Academy of Arts, Petersburg, Russia
2013 Velocius, Altius, Fortius, ArtMost Gallery, London, UK
2012 Air Flight. Body Shock, Sputnik Gallery, New York, USA
2011 Air Flight. Body Shock, Polka Gallery, Paris, France
2010 Air Flight. Body Shock, GMG Gallery, Moscow, Russia
2007 Phiscultura (curated by Ekaterina Kondranina), Moscow International Photobiennale, Moscow Museum of Modern Art, Moscow, Russia
2006 Phiscultura (curated by Maria Jesús Andrés García), Circulo de Bellas Artes (Society of Fine Arts), Madrid, Spain
2006 Metamorphoses of the Monarch, Kremlin Museum, Nizhny Novgorod, Russia
2005 The Seasons. My Friends, Moscow International Photobiennale, Moscow Museum of Modern Art, Moscow, Russia
2005 Metamorphoses of the Monarch (for St Petersburg Early Music Festival supported by Marc de Mauny and Andrey Reshetin), Vladimir Nabokov Museum, St Petersburg, Russia
2001 Every Passion is Blind and Wild, XL Gallery, Moscow, Russia
2000 Farewell to the Winter's Tale, (supported by Irina Khmel’nitskaya), Palace of the Grand Duke Vladimir Alexandrovich, St Petersburg, Russia
2019 European Games – European Art, National Centre for Contemporary Arts of the Republic of Belarus, Minsk, Belarus
2019 Phiscultura and Air Flight, Photofairs, Anna Nova Gallery stand, Shanghai, China
2018 Winter Tales, ART4 Museum, Moscow, Russia
2017 Air Flight, as part of the Month of Photography in Minsk, Grodno, Belarus
2016–2017 Phiscultura, Telfair Museum of Art, Savannah, Georgia, USA
2016 Every Passion is Blind and Wild in the Collection, National Center for Arts and Culture Georges Pompidou, Paris, France
2007 Metamorphoses of the Monarch and Every Passion is Blind and Wild, Cosmoscow, Gostiny Dvor, Frolov Gallery stand, Moscow, Russia
2015 Metamorphoses of the Monarch and Every Passion is Blind and Wild in Vladislav Mamyshev-Monroe exhibition Archive M, Moscow Museum of Modern Art, Moscow, Russia
2014 Phiscultura, Holden Gallery, Manchester, UK
2013 Phiscultura, Sir John Soane Country House, Pitzhanger Gallery, London, UK
2013 Air Flight, Art Palm Beach, Sputnik Gallery stand, Miami, USA
2013 In Memory of Vladislav Mamyshev-Monroe, State Russian Museum, St Petersburg, Russia
2012 Phiscultura, Museum of Modern Art, Moscow, Russia
2012 Air Flight, AHAF, Anna Nova Gallery stand, Hong Kong International Art Fair
2011 Nijinsky and Diamonds, Anna Nova Gallery, St Petersburg, Russia
2011 Nijinsky and Diamonds, Royal Academy of Arts, London, UK
2011 Albatross, State Historical Museum, Moscow, Russia
2011 Nijinsky and Diamonds, VI Tashkent International Biennale of Contemporary Art, Tashkent, Uzbekistan
2011 Air Flight, Korea International Art Fair, Anna Nova Gallery stand, Seoul, Korea
2010 Phiscultura, State Russian Museum, St Petersburg, Russia
2010 Air Flight, Moscow International Photobiennale, Moscow, Russia
2007 Metamorphoses of the Monarch, State Russian Museum, St Petersburg, Russia
2007 Phiscultura, Art Moscow, Central House of Artists, Frolov Gallery stand, Moscow, Russia
2002 Every Passion is Blind and Wild and Strength and Beauty, Moscow International Photobiennale, Central House of Artists, Moscow, Russia
2000 New Year's Celebrations and Winter Tales, Moscow International Photobiennale, Central House of Artists, Moscow, Russia

2017 The Academic Tradition: St Petersburg – Madrid, Publishing House of the St Petersburg Academy of Arts, St Petersburg, Russia
2017 Air Flight, Prolab, Moscow, Russia
2013 Velocius, Altius, Fortius, ArtMost Foundation, London, UK
2007 Phiscultura, Turner Publishing, Madrid, Spain

2006 First Prize of the National Olympic Committee of Russia for “The Best Project on Sport of 2006”, ProSport Magazine, Moscow, Russia

Official site

Exhibition at the National Museum of San Carlos, Mexico City, 2018, video

The photographic process, Mexico City, 2018, video

Exhibition at the St Petersburg Academy of Arts, Russia, 2014, video

Film shoot with the Bolshoi ballet for MaxMara, 2011, video

Interview for the Academy of San Carlos, Mexico City, 2018 video

Telecast of the exhibition in Mexico City on the Once Channel, Mexico City

Article about the exhibition in Mexico City in the newspaper El Universal, 2018

Article about the exhibition in Mexico City in the newspaper El Economista, 2018

Article about the exhibition in Mexico City in the newspaper La Jornada, 2018

Article about the exhibition in Mexico City in Vogue Mexico Magazine, 2019

Sarah Vinitz Foundation Website

Article about the exhibition The Academic Tradition in El País, Madrid, 2017

Article about the exhibition The Academic Tradition in Descubrir el Arte Magazine, Madrid, 2017

Interview for Solar Magazine, Madrid, 2017
Book Review on Academic Tradition: St Petersburg - Madrid, 2017

Pompidou Center Information Page, Paris, 2016

Article in Bleek Magazine, Moscow, 2016
https://bleek-magazine.ru/articles/%D0%B2%D0%B0%D0%BB%D0%B5%D1%80%D0%B8%D0%B9-%D0%BA%D0%B0% D1% 86% D1% 83% D0% B1% D0% B0 /

Interview for the Belarusian portal KYKY, Minsk, 2016

Interview for Radio Liberty, Petersburg, 2014

Article on Velocius, Altius, Fortius Exhibition in Russian Art + Culture, London, 2013

Interview for the TeleDom channel, Petersburg 2013

Article in the newspaper Kommersant, Moscow, 2007

Book Review: Phiscultura, 2007

Interview for the magazine Photo and Video, Moscow, 2007

"THE STORIES BEHIND AN INSTANT. I met photographer Valery Katusba in Merida, Yucatan, a couple of years back; by chance a mutual friend introduced us after the opening of an exhibition in a gallery. He appeared inwardly and acted with caution when I asked him if he could show his work, which he carried in an elegant leather portfolio under his arm. Upon viewing a few black and white prints, my sensation was that his work portrayed absence: the models engaged in poses that were no part of living experience but emblems of ideas; he portrayed the lives of people who posed for him, looking into his camera as ghouls. Was he looking for classic perfection or in the ballet prima ballerina, or searching for the timeless splendor of male bodies in the portrait of Russian Olympic wrestlers? It struck me that he knew well that these were aesthetic values that had become a souvenir of the past, the failure of contemporary culture to come to terms with the pursuit of high standards in art. Katsuba was born and raised in Belarus, trained as a sailor and photographer by heart; My first impression was that he seemed reluctant, but he accepted my suggestion that we look at his photographs right away. He extended a group of them on a window sill and began to handle them like gallerists do: using a pair of black velvet gloves. He took the work into his hands and raised the print at eye level in front of my eyes, hiding his face behind it, as if he was presenting an musical score. His voice conveyed in a highly articulated Spanish the tale behind the work. As the improvised show came to an end, I realized that most of the work was the result of a sensibly staged mis an scène. Undoubtedly, the photographer had learned the tools of the trade from fashion photography, with its consciously handling of lights, pose, wardrobe, but no make-up in sight. He was looking for real life characters, people whose feelings he knew, individuals whose lives mattered. The dancers were my favorites, I had such a rush when looking at the white shrouds, the light passing through the veils, the veins showing below the skin. Precise and unadorned, those bodies were fitted to receive the soft touch of light. I knew photographers back in Mexico City that had a sensibility for canonized beauty in a way that classic architecture and sculpture capture it. People like Guillermo Kahlo, father of Frida, and Katy Horna, the Hungarian surrealist who adopted the Mexico as her own home during the 1950s. I discovered that Katsuba shared with them the same standards when, at a later date, I saw him for the first time shooting a group of indigenous ball players in the courtyard of the San Carlos Museum, a national treasure throve specialized in 16th-19th century visual arts. Shortly after that photo session, Katusba and I seriously discussed what Baroque meant. On one hand, It seemed to me that the term baroque referred to an aesthetic whose aim has been capturing and representing movement in architecture and sculpture, two main features of Katsuba’s photographs of athletes, modern dancers and life drawing models. On the other hand, for him, the tensions in the bodies that characterized his body of work reflected the classic concerns with proportion, structure and stability, for which the art of staged photography is particularly well suited. I consider that staging a narrative that expresses the avatars of our mortal coil is part of the larger drive in his oeuvre. TURNING LIFE INTO PICTURES. Few photographers in the last century have attempted to use the camera from both sides: from behind the lens and posing in front of them. By eliciting stories of personal pain, or assuming other people’s lives, or experiencing the feelings, the intimate works of Francesca Woodman, the candid shots Cindy Sherman or the outrageous revelations of Pierre Molinier, these artists have transformed photography into a genre different from self-portraiture, where the medium has been given a credibility far from narrative photography, due to the fictional presence of the author. The works in this book are witness to this serious and confident attempt to produce a document, a logbook, of the author’s voyages around the world. Taken by the lives of people he has befriended, Katsuba kept a visual diary, a bizarre one, where he has made a character of himself by posing for the camera in emblematic situations: the breakup, the welcoming, the confrontation, to name a few. A leap of his imagination allowed the artist to connect a series of shots and turn them into a narrative, connecting the dots in the maps of Eurasia, America and Africa. The result is captivating and puzzling because it pushes the viewer into creating a personal visual recount, joining the particular with the universal, the inner world with the external landscape. From the very first time he showed me the sequence I asked him how he managed to produce such epic in more than ten years of sailing through the world, like a modern day Ulyses. Katsuba is reluctant to say that the compilation of that work has anything to do himself; rather, he has attempted to re-construct a tale of human separation through a series of rites of passage, from the land into the sea, following rivers through mountains, from the dessert and the wetlands. Port cities and insular towns depicted are the natural settings for his own performances. It is evident that he plays the leading role in the cast, and that his character is also the witness of a passion play that involves the emotions of a life’s journey. Again, I could disagree with his perception of the whole and concur in some of the particulars. For I have been interested lately about chance and parallel universes. This theory has led me to read these photographs in a different sequence: where one decision on the character takes him to another realm which occurs simultaneously in another space frame. The decision to capture the world results into a grid of numerous possibilities reminding of the mirroring effect: we see the lives of certain others as a reflection of one’s own. During our time together, I have been able to notice how Katsuba self changes from being himself into being one with others. This is more visible when he directs his models into performing for the camera. Somehow, the artist is capable of bringing the actor into the person he just met in the sand dunes in the Arabic dessert or in the seafront of Havana. The result is captivating, for we know how difficult is to get a candid pose for us in front of the camera, and how easily we fail to hide our true emotions in a snapshot. But Valery Katsuba seems to be perfectly suited for the task of representation and, if I may say so, impersonation of those he has known by heart. There is also the question of peeping into peoples’ existence, usually the job of a photojournalist documenting a story; although this is far from the intentions of our photographer, there’s indeed something in his gaze that brings the feeling of voyeurism in some of those images, where the intimacy of the scene is broken by the intrusion of the camera; for instance, the picture of a woman kneeling in a pond or the narcissistic image of the sailor confronting himself by the sea. This self-portrait, by the way, is the last image in the book, it could also be the first one; it’s a reflection on the personal history or the longing for a future, we can never be certain. Katusba reveals in the book his talent as a storyteller. He is, no doubt about it, the sailor who has trailed the camera from Belarus to Georgia, Istanbul to Bangkok; the interloper and the witness of intimacy, the recorder of alternative worlds connected through his eye. His oeuvre reveals the stories behind the moment we all share in our memory." --Jose Springer, Yucatan; winter, 2020.

CONTENTS (Texts on verso side of plates): 1. ... and on clear and frosty nights, when the stars shone over the river and the smoke from the village stoves rose up in long straight pillars, they used to put on sheepskin coats and boots and to go out onto the river and when they reached the middle of the river, they lay down on the snow-covered ice, fell silent and watched the stars ... -- 2. ... he looking at nature as it withered before the coming winter, nature that was so familiar and so beloved, and perhaps he did not want to leave the autumn plain, the sadness of which excited his soul, but however he sought the way back into his thoughts and feelings, he still could not find it … -- 3. ... low, fast clouds. There will surely be snow. The first snow this year ... -- 4. ... at the end of the road there was a boat on the river. A sailor sat in it. He pushed off from shore, and the waves carried him to where the clear grey waters met the leaden clouds, into a world he did not know ... -- 5. ... in those places it was raining and thus the green of the tall grasses and the foliage of the trees triumphed. There was no wind and raindrops fell evenly, sounding equally softly on the roofs of huts and the greenery of valleys and mountains ... -- 6. ... and from there boats were leaving for the small islands. He went to one of them, where the shore was of white sand and the water was clear, so that the rays of the sun penetrating it became azure light ... -- 7. ... the lonely traveller attracts attention, the desire to somehow give him aid, particularly if he looks like that one for whom they have waited so long in that particular part of the world ... -- 8. ... observing the movements of her hands, the tilt of her head with its black hair always neatly pulled back ... -- 9 .. ... and on the other bank he found a hut – a wooden frame on column-stilts, covered with huge palm leaves; in it a bed, a table and a chair. In effect, everything he needed at that moment ... -- 10. ... in those parts they did not see the point of solitude and diligently tried to find him a bride … -- 11. ... it was getting dark, and he was still sitting beneath a peasant shelter in the middle of the valley amidst the rice fields, listening to the rain. He did not send the letter. He did not even finish it … -- 12. ... and he left the rice valley, going from those places to the lands of Asia Minor and the Middle East, to where the moon is upside down and above it a star ... -- 13. ... spring had finally begun in the mountains. The apricot trees bloomed, and in their wake the birch and chestnuts began to turn green. He found the same house. The mistress of the housed opened the door to him … -- 14. ... and it seemed that “tomorrow” had never come in those places ... -- 15. ... on these shores, on the edge of the Old World, where the captain served, the earth seemed to disappear completely, revealing the ocean. And he splashes along the shore, wanting to talk about something. But the wind blows his words away and you understand only that the ocean knows other lands, other people and allows you to go and meet them. The more you look at the ocean, the stronger becomes the desire to accept its proposal ... -- 16. ... there were two young men with him. Their features were clear and open, as were their words ...  -- 17. …  and her song sounded softly amidst the rain that began to fall, a song perhaps regretting something, perhaps rejoicing … -- 18. ... that’s how it is with fire: it goes out, and then it suddenly flares up with renewed vigor, and the flame rises brighter and higher ... -- 19 ... why were not the words spoken? Is it because words at such moments are not needed? “Un pañuelo de silencio en la hora de partir” (a veil of silence at the time of parting), according to the custom of the Southern Old World -- 20. ... and he went towards the ocean. And it turned out that he had everything that he needed now: a road and a headwind from the sea ... -- 21. ... pale pink clouds, swaying slowly and smoothly, fell over the horizon, carried away by the sun, which in parting flooded the whole horizon with that same pale pink light, coloring with it the contours of ships sailing along the sea and even the sea itself ... -- 22. ... and meanwhile the old man was talking about himself ... and he saw the old man young again, as if he had known him then ... -- 23. ... and is it true that there, where you are coming from, there are big towns, and the life there is good and there are many interesting people? … -- 24. ... before the village lay a field, in waves of tall green grass and modest northern flowers. The summer in those parts was short and flowers seemed to blossom overnight, filling the warm air with their scent... -- 25 ... swallows settled on those shores of red sand. And if in the evenings they flew high up in the sky, then the night would most likely be starry, and the morning of the following day sunny and clear ... -- 26. ... the inhabitants there were dark skinned, tall and slender. Their healthy bodies were like bamboo and were at the same time flexible, like vines ... -- 27. ... kisses rich in taste ripened on their full, gutta-percha lips all year round beneath the bright sun … -- 28. ... meanwhile, the behaviour of the sea and the sky indicated that a hurricane was coming to the island ... -- 29. ... on the edge of the desert by the shore of the sleepy sea ... -- 30. ...he did not allow himself to doubt and, rising, ran his palm over his shoulders and chest, as if checking whether he was still whole ... -- 31. ... and there on the peninsula, above the highest mountain there always hung a cloud, stretching towards the South, and they called it a "mantle" ... -- 32. ... there are people among us for whom it is common to help those who have been shipwrecked. And these people are especially noticeable in distant lands... Or perhaps they have more to do there? … Or maybe they are simply heroes ... -- 33. ... by the sea, on which there were almost no waves. In the regions where there is no rain, where the air is dry to transparency, and the dense sea lazily strikes the eternal sands ... -- 34. ... the clear waters of the river were running quickly, and in the cool spring wind above it were the smells of bird cherry and young foliage blossoming on trees ... -- 35. ... in those days when the sky lies upon the Northern city in snow clouds, its pastel-colored houses become invisible, merging with the clouds and the water ... -- 36. ... wet snow was falling on his face and it was difficult to make out the city’s buildings and the ship standing at the mouth of the river ... -- 37. ... and that was the peculiarity of young people. They did not indulge in sorrow for long. They always had sun, sea, dance and youth, and they seemed to hold themselves in, so as not to laugh with the happiness that overwhelmed them … -- 38. ... the cloud, heavy from below, gained lightness with height and strove to reach the middle of the sky. Approaching the sun, it turned pale pink. Then it covered up the sun. And in a moment both sea and sky became equal in colour ... -- 39. ... in the darkness of the approaching night, the voices of fishermen were heard on the pier and the splashing of the oars of boats leaving for the sea ... -- 40. ... in the late afternoon, windows and doors were opened wide and the wind blew through, bringing with it the sounds of an departing tropical day – the chirping of cicadas and the rustling of palm leaves ... -- 41. ... - Do you have a house? - the peasants asked - Not. - Would you like one? - Yes. - And where? - I would like a house by the sea, so that I could open the windows and see the water ... - And where is the sea that you would like to watch from the open window of your house? ... -- 42 ... as soon as he had any free time, he was taught to work, for which he was grateful many years later... -- 43. ... the floor in the captain’s house was tiled with azure painted brigantines, fishing schooners, storms, marvellous lands and other marine impressions ... -- 44. ... and the little bird with white tips on ashen wings flew to the sea, to where the thunder wind blew and when the gusts became stronger, it only often flapped its wings more often, always remaining in the same place. And in her black dot-eyes one could see strength and determination to overcome the elements ... -- 45. ... a damp ‘dust’ arose where the high waterfalls tumbled from on high, settling like dew on his clothes, hands and face ... -- 46. ... and when after a long hike he had absolutely no strength, suddenly a cart drove up in total silence, and stopped to offer help ... -- 47. ... in the early spring, there was often still snow at the bottom of the tree trunks, but larks were already flying in the sky and on a hill among last year’s grass new green blades were already beginning to emerge... -- 48. ... from his childhood home he could walk to the lake, which slowly and over a long time gained courage in order to become a sea somewhere far away ... -- 49. ... here at the edge of the earth shine the brightest stars, and day and night you can hear how the mighty ocean, which has its own, separate existence, carries its waters to the bottom of the snowy peaks. Its vicinity, like that of the high mountains, which meet the sea with streams from glaciers, made clear the eyes of the inhabitants of the edge of the earth, and their conversations became like a song … -- 50. ... the sea and the sky filled the house’s windows, competing in conveying the depth, weightlessness and delicacy of colours. And the longer the sailor peered into the ocean, the stronger became the desire to accept its offer once more and swim in the waves to where the sky continues. The south wind knocked upon the window.

Price: $15,000.00

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