View allAll Photos Tagged Borisov-Musatov,
ВИКТОР БОРИСОВ-МУСАТОВ, 1904-1905 - Сон божества. Эскиз росписи для особняка А.И. Дерожинской
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: my.tretyakov.ru/app/masterpiece/9180
www.tretyakovgallerymagazine.com/articles/2-2020-67/expre...
ВИКТОР БОРИСОВ-МУСАТОВ - Летняя мелодия. Эскиз росписи для особняка А.И. Дерожинской
☆📝
Private collection, Moscow, Russia.
Sources: www.tretyakovgallerymagazine.com/articles/2-2020-67/expre...
ВИКТОР БОРИСОВ-МУСАТОВ - Водоем
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: my.tretyakov.ru/app/masterpiece/9898
ВИКТОР БОРИСОВ-МУСАТОВ - Призраки
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Source: goskatalog.ru/portal/#/collections?id=4586003
The image of the world in the painting is presented as a fine, semi-transparent veil, behind which one seems to see weird light. Phantom figures, generating numerous reflections in the wave-like fluctuations of space, glide away like echoes of music dying in the distance. By placing the figures asymmetrically, the artist creates an impression of their spontaneous movement, as if they were driven by some unknown force. The unsteadiness of the image is achieved by a technique - reduced matt tempera creates fresco-like radiance. The picture seems to comprise multiple transparent layers. The colours do not obscure the underlying fabric of coarse-grained canvas, which produces the effect of material that seems to be decayed with time. The painting becomes so ethereal that it verges on poetry and music.
Rus: Образ мира на картине представлен тонкой, полупрозрачной завесой, за которой чудится нездешний свет. Призрачные фигуры ускользают подобно отголоскам затихающей вдали музыки. Размещая фигуры ассиметрично, художник создает ощущение спонтанности их движения, словно они подчиняются импульсам какой-то неведомой силы. Зыбкость изображения, его фресковое свечение достигается разбеленной матовой темперой. Изображение кажется состоящим из множества прозрачных слоев. Сквозь краски проступает тканая основа крупнозернистого холста, что рождает эффект истлевшего от времени материала. Живопись становится бесплотной как музыка...
ВИКТОР БОРИСОВ-МУСАТОВ - В парке
☆📝
Location: National Arts Museum of the Republic of Belarus, Minsk.
ВИКТОР БОРИСОВ-МУСАТОВ - Усадьба
☆📝
Location: Krasnodar Regional Art Museum named after Feodor Kovalenko, Krasnodar, Russia.
Source: goskatalog.ru/portal/#/collections?id=4759391
Manor House is a symbol of the artist’s inner harmony, peace and happiness. But there is also a sad motif: fading and retrospective. Zubrilovka, as most of noble estates in the 20th century, burned down during a fire in October 1905. By coincidence, this happened a week before the artist’s death.
The mood of paintings by Borisov-Musatov largely coincided with the mood of literary works by his contemporaries: Ivan Bunin, Anton Chekhov, and Andrei Bely. Via his painting, he conveyed a farewell to manor estates, a premonition of fatal events and a vague alarm due to their approach. The artist’s early death reinforced this impression and made his works a sort of dedication to outgoing Russia. The Manor House by Borisov-Musatov is a window into the lost world.
Borisov-Musatov was buried on the outskirts of Tarusa, where he spent the last days of his life. In 1910, a monument in his honour made by his Saratov study friend, sculptor Alexander Matveev, was erected on the artist’s grave.
Rus: "Усадьба" - символ внутренней гармонии художника, умиротворенности и ощущения счастья. Но есть в полотне и грустный мотив: угасание и уход в прошлое. Зубриловка, как и большая часть дворянских усадеб в ХХ веке, сгорела во время пожара в октябре 1905 года. По стечению обстоятельств это произошло за неделю до смерти самого художника.
Настроение картин Борисова-Мусатова во многом совпадало с настроением литературных произведений его современников: Ивана Бунина, Антона Чехова, Андрея Белого. Своей живописью он передал прощание с дворянскими гнездами, предчувствие роковых событий и смутную тревогу от их приближения. Ранняя смерть художника усилила это впечатление и сделала его работы своеобразным посвящением уходящей России. "Усадьба" Борисова-Мусатова — это окно в утраченный мир.
Борисов-Мусатов похоронен на окраине Тарусы, где провел последние дни жизни. В 1910 году на могиле художника установили памятник работы его саратовского товарища по учебе - скульптора Александра Матвеева.
ВИКТОР БОРИСОВ-МУСАТОВ - Автопортрет с сестрой
☆📝
Location: State Russian Museum, Saint Petersburg, Russia.
Sources: rusmuseumvrm.ru/data/collections/painting/19_20/zh_2032/i...
Rus: Летний день. В тени сада, у изящного столика, на котором лежат свежие розы, и в мраморе столешницы отражается небо с бегущими по нему облаками, сидит юная девушка. Это младшая сестра автора картины, четырнадцатилетняя Елена. На ней старинный наряд, платье по моде сороковых годов девятнадцатого столетия.
Девушка занимает центральное место в картине.
Себя художник изображает сбоку, его фигура, срезанная краем холста, словно не вмещается и уходит за пределы картины. Такой прием создает впечатление жизненной убедительности, будто случайно увиденной сцены, хотя композиция строго продумана и уравновешена. По своей оригинальности она не имеет аналогий в жанре русского портрета.
Предметы первого плана написаны весьма материально, в то время как деревья в глубине холста переданы очень обобщенно. Они как-будто некая замыкающая пространство стена, отделяющая людей в этом тихом уголке сада от остального, чуждого им мира, а состояние отрешенности в лицах героев еще более усиливает это впечатление отчужденности.
Этот двойной портрет - выражение общей концепции творчества Борисова-Мусатова, которую он определил сам:
"Когда меня пугает жизнь, я ухожу в искусство и кажется мне, что я на необитаемом острове и никакой действительности не существует".
ВИКТОР БОРИСОВ-МУСАТОВ - Осенний мотив
☆📝
Location: Radishchev Art Museum, Saratov, Russia.
Sources: goskatalog.ru/portal/#/collections?id=1718101
en.m.wikipedia.org/wiki/Victor_Borisov-Musatov
lavrus.tretyakov.ru/publications/simvolizm-v-literature-i...
VICTOR BORISOV-MUSATOV - On the balcony. Loneliness (Sorrow) / pastel on paper 44.0 × 54.0 cm.
☆📝Location: Serpukhov Historical-Art Museum, Serpukhov, Russia.
Source: serpuhov-museum.ru/virtualnie_vistavki/odinochestvo/
VICTOR BORISOV-MUSATOV - Window / oil on canvas, 62.5 х 47.2 cm.
☆📝Location: State Tretyakov Gallery, Moscow, Russia.
Sources: goskatalog.ru/portal/#/collections?id=4614804
The canvas surprises with the maturity of execution and the skill of rapprochement of tones, it is permeated with a subtle poetic mood, achieved exclusively by pictorial means. The center of the composition is the deep twilight of the dark room, lurking behind the open window, set off by the white lace of the curtains and the patterned variety of leaf and flower shapes. From this amazingly written corner of the garden literally blows warm summer air, saturated with aromas and distant sounds of a quiet evening. The picture imperceptibly echoes the work of Julies Bastien-Lepage "The Village Lovers", which the artist will see only in 1890, when he leaves to study in Moscow.
Rus: Полотно удивляет зрелостью исполнения и мастерством сближения тонов, пронизано тонким поэтическим настроением, достигнутым исключительно живописными средствами. Центром композиции становится глубокий сумрак темного помещения, таящийся за распахнутым окном, оттененный белым кружевом занавесок и узорным разнообразием форм листьев и цветов. От этого изумительно написанного уголка сада буквально веет теплым летним воздухом, пропитанным ароматами и далекими звуками тихого вечера. Картина неуловимо перекликается с произведением Бастьен-Лепажа "Деревенская любовь", которое художник увидит только в 1890, когда уедет учиться в Москву.
ВИКТОР БОРИСОВ-МУСАТОВ - Портрет дамы в голубом
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: my.tretyakov.ru/app/masterpiece/9023
www.tretyakovgallerymagazine.com/articles/2-2020-67/expre...
Rus: Известно, что Борисов-Мусатов был серьезно увлечен художественной фотографией. Художник обратился к ней в поисках средства, способного фиксировать идеи, зыбкие впечатления, ассоциации с четкостью и быстротой, неподвластной традиционным средствам графики. Художник желал не просто воскресить в памяти творческую идею, возникшую когда-то, но воссоздать ее во всех подробностях, не упуская ни единой детали. Моделями часто избирались близкие художника: сестра Елена, знакомые девушки, их подруги. Часть этих фотоэтюдов послужила основой для живописных и графических произведений. Прообразом этого портрета послужила фотография будущей жены художника, Елены Александровой.
Борисов-Мусатов написал картину "Портрет дамы" на пике творческого подъёма. Сравнивая сохранившийся снимок с рисунком, исполненным на его основе, можно отметить особую "контрастность" - следование графическому языку фотографии, построенному на тональных оттенках двух цветов. Акварель тем самым оборачивается прозрачностью, "нематериальностью" цвета, игрой полутонов, приглушенных размытых красок, тающих теней, что как нельзя более соответствует поэтическим образам его призрачного мира.
Одевая свои модели в старинные костюмы, помещая их в атмосферу реальных старинных усадеб, окружая предметами старины и фиксируя все это при помощи фотокамеры, Борисов-Мусатов как бы воплощает свои грезы в жизнь, создает ту "прекрасную реальность" без примет конкретного времени, которая живет в поэзии Серебряного века.
ВИКТОР БОРИСОВ-МУСАТОВ - Интерьер с дамами, ведущими разговор
☆📝
Private collection.
Düsseldorfer Auktionshaus, 2011.
Sources: www.mutualart.com/Artwork/Interieur-mit-Damen-beim-Gespra...
commons.m.wikimedia.org/wiki/File:Viktor_Borisov-Musatov_...
ВИКТОР БОРИСОВ-МУСАТОВ - Весенняя сказка. Эскиз росписи для особняка А.И. Дерожинской
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Source: art.biblioclub.ru/picture_22672_vesennyaya_skazka/
Rus: Особняк А.И. Дерожинской был построен в 1903 году по проекту архитектора Фёдора Шехтеля в Штатном переулке в Москве (ныне Кропоткинский переулок).
В цикл росписей вошли композиции “Весенняя сказка”, “Летняя мелодия”, “Осенний вечер”, “Сон божества”. Над эскизами художник работал в имении Шемшуриных под Звенигородом. В композициях изображен усадебный дом и парк, находившийся рядом с усадьбой Введенское – бывшего имения Шереметевых. Однако в эскизах фресок отразились впечатления от других усадебных комплексов, прежде всего - Зубриловки.
По замыслу Шехтеля, панно должны были украсить верхнюю часть стен холла-гостиной в особняке. Прежде чем исполнить акварельные эскизы, Борисов-Мусатов размышлял над программой росписей: времена года, времена дня, человеческий возраст, искал варианты решения композиций. Созданные акварельные эскизы относятся к числу лучших его работ. Их основной принцип соотносится со словами, сказанными самим Борисовым-Мусатовым: "Бесконечная мелодия, которую нашел Вагнер в музыке, есть и в живописи. Во фресках этот лейтмотив – бесконечная, монотонная, бесстрастная, без углов линия."
Росписи не были осуществлены, так как хозяйка усадьбы предложила художнику за работу ничтожную сумму. Привлекший Борисова-Мусатова к работе Шехтель был в отъезде и не мог объяснить Дерожинской, что ей предлагают шедевры. А вскоре художник умер.
"Вместо огромных фресок, только акварельные эскизы ..... Множество намерений, возможностей, сил, и как бесконечно жаль, что всему этому не суждено было слиться в стройно-законченных произведениях", – писал о Борисове-Мусатове П. Муратов.
ВИКТОР БОРИСОВ-МУСАТОВ - Гобелен
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Source: my.tretyakov.ru/app/masterpiece/20069
"What era?" - you ask. And this, you know, is just a "beautiful era" - the artist wrote in his diary - finally, I have found the form of a dream!” At the same time, beautiful women on the canvas can be considered both as elements of the landscape (like flowers and trees), and as two peaceful souls wandering thoughtfully in the surreal realm of sleep. The coloring of the pictures is built on halftones and half-hints, and the composition is flat and static, the lyrical images are generally romanticized. Thanks to the intentionally faded tempera applied with a transparent layer, the texture of the canvas shows through from under the paint, which creates the illusion of an old tapestry. Due to the lack of a plot, the main emphasis is shifted to the harmony of lines and colors. We contemplate a real elegy of a quiet evening in an old manor, a symphony of frozen time, an indefinable century
Rus: "А какая эпоха?" – спросите вы. А это, знаете ли, просто "красивая эпоха", – написал художник в своем дневнике. – Наконец-то я нашел форму мечты!". При этом прекрасных женщин на полотне можно рассматривать и в качестве элементов пейзажа (как цветы и деревья), и как две умиротворенные души, задумчиво блуждающие в ирреальном царстве сна. Колорит произведения построен на полутонах и полунамеках, а композиция отличается плоскостностью и статичностью, лирические образы обобщенно романтизированы. Благодаря наложенной прозрачным слоем умышленно блеклой темпере фактура холста проступает из-под краски, что создает иллюзию старинного гобелена. Из-за отсутствия сюжета основной акцент перенесен на гармонию линий и красок. Мы созерцаем настоящую элегию тихого вечера в старинной усадьбе, симфонию застывшего времени, неопределимого столетия.
ВИКТОР БОРИСОВ-МУСАТОВ - Реквием
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: my.tretyakov.ru/app/masterpiece/9034
www.tretyakovgallerymagazine.com/articles/2-2020-67/expre...
Despite the immense scale of his artistic expression and the vigorous development of his personality, Borisov-Musatov's life was a short one. On October 26 (November 8), 1905, the artist died unexpectedly from a heart attack in his new Tarusa studio in front of his final composition Requiem. This piece, although unfinished, is one of Borisov-Musatov's most perfect works in terms of the power of concentration of feeling and the musicality of the visualised rhythm of spiritual experiences it demonstrates.
Vasily Milioti, an artist of the 'Blue Rose' group who knew Borisov-Musatov well, considered this work to be the quintessence of pictorial achievement, conveyed by the language of graphics: “In his pictorial quest, as happened to many of his contemporaries, Musatov has always loved a clean, fine line in drawing, as evidenced by his distinct lines in Requiem - this gently illuminated drawing, where the latter, however, does not play a dominant role, maintaining that full balance which is necessary in a large, completely perfected creation".
Rus: Несмотря на масштаб художественного высказывания и стремительность роста индивидуальности, жизненный путь Борисова-Мусатова был недолог. 8 ноября (26 октября по старому стилю) 1905 года художник скоропостижно скончался от разрыва сердца в своей новой тарусской мастерской перед последней, оставшейся незаконченной композицией "Реквием", которая, тем не менее, является одной из наиболее совершенных работ Борисова-Мусатова по силе достигнутых в ней концентрации чувства и музыкальности визуализированного ритма переживаний. Не случайно художник "Голубой розы" Василий Милиоти, близко знавший Борисова-Мусатова, относил «Реквием» к высочайшим образным достижениям акварельного мастерства, квинтэссенцией живописных достижений, переданных языком графики: "При его живописных исканиях, как это случилось со многими из его современников, Мусатов всегда любил чистую тонкую линию в рисунке, чему свидетельством может служить его строгий по линиям "Реквием" - этот нежно иллюминованный рисунок, где однако последний не играет доминирующей роли, как это и должно быть в больших до конца завершенных творениях, где соблюдено полное равновесие"
ВИКТОР БОРИСОВ-МУСАТОВ - Изумрудное ожерелье
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: www.art-catalog.ru/picture.php?id_picture=1174
artsandculture.google.com/asset/wd/BAHwlipCN6gvGQ
Отказавшись в последних картинах от симметрично-осевых форм, мастер приблизился в своем творчестве к ритмическим композициям модерна – изначально незавершенным, асимметричным и одновременно замкнутым в круговом движении. Но в "Изумрудном ожерелье" Борисов-Мусатов разомкнул композицию. Он даже срезал фигуру девушки слева краем холста (прием импрессионистов), еще более подчеркнув эту разомкнутость.
Переводя взгляд слева направо, с одного женского образа на другой, можно заметить смену настроений персонажей. От печальной девушки оживленность постепенно нарастает, героини расцветают улыбками, и медноволосая красавица справа уже выражает крайнюю степень восторга. Она уже не с подругами, а вся устремлена к тому, что впереди, вся – порыв, влечение…
This puzzle wasn't the most exciting one I've ever done, but I love the finished picture with its huge expanse of sky and frozen waterway. These silvery blue colors of winter are certainly in season where I live.
One may assume that the puzzle was a serious challenge due to all the sky pieces; however, the cut is quite easy. These Stella puzzles are manufactured by Polish brand Trefl, and the various sizes have different types of cuts. They are all similar in that the corners line up perfectly (with a very few exceptions which may have been unintentional) and the x- and y- axes waver or undulate slightly. But the 2000 piece size notably has a more wavy design than the 1000, 1500 or 3000 sizes; this waviness results in some pieces being quite large, some very small, some quite rectangular and some very square. This same tendency was noted recently by Russian puzzler and Stella fan Ashk.
Therefore, this puzzle was in fact easier (2.4/10) than the 1000 piece Stella I completed just before this one (3.0/10), demonstrating that size is but one factor in determining puzzle difficulty.
Alexey Petrovich Bogolyubov (1824 - 1896) was a Russian landscape painter.
Bogolyubov was born in the Pomeranie village of Novgorod Gubernia. His father was retired colonel Pyotr Gavriilovich Bogolyubov. Bogolyubov's maternal grandfather was the well-known philosopher and social critic Alexander Radishchev.
In 1841, Alexey graduated from military school, serving in the Russian Navy and travelling with the fleet to many countries. In 1849, he started to attend classes of the Saint Petersburg Academy of Arts, where he studied under Maxim Vorobiev. The young painter was greatly influenced by Ivan Ayvazovsky. In 1853, he finished the Academy with a major Gold medal. He retired as a navy officer and was appointed an artist to the Navy headquarters.
From 1854 to 1860, he travelled around Europe and worked prolifically. In Rome, he was acquainted with Alexander Ivanov, who convinced Bogolyubov to focus more on drawing. In Düsseldorf, Bogolyubov took classes from the painter Andreas Achenbach. In Paris, he admired the artists of the Barbizon School. French painters Camille Corot and Charles-François Daubigny were good friends and collaborators with Bogolyubov. He also painted the frescoes in the Alexander Nevsky Cathedral.
Bogolyubov returned to Russia in 1860. He exhibited his works in the Academy and received the title of professor. For some time, he taught in the Academy. In the 1860s, he traveled along the Volga. His paintings lost all traces of Romanticism, replacing that element with staunch realism of the natural. In 1871 he was elected to the Imperial Academy of Arts.
From 1870, he became close to the Wanderers art movement, participated in all their exhibitions. He became a member of their board. Much older than most of the other members of the movement, he had reservations on their social ideas. In 1873, Bogolyubov left the Academy in solidarity with his fellow Itinerants. He even tried to create an alternative Russian Academy of Arts in Rome.
After 1873, Bogolyubov lived primarily in Paris, because of his heart condition. His house was like a Russian colony: frequent visitors included Ivan Turgenev, Ilya Yefimovich Repin, Vasily Polenov, Mark Antokolski, Vasili Vasilyevich Vereshchagin.
In 1885, Bogolyubov opened an art museum in Saratov, the Radischev Art Museum, named after his grandfather. It was opened to the general public seven years earlier than the Tretyakov Gallery in Moscow and fifteen years earlier than the Russian Museum in Saint Petersburg. The naming of the museum after the "first Russian revolutionary", Alexander Radishchev, was a direct challenge to the authorities: Bogolyubov had to endure a legal battle to get permission.
Bogolyubov died on 3 February 1896 in Paris. After his death, Bogolyubov left all his money and capital (around 200 thousand Russian rubles (approximately US$6 million)) to the museum and its painting school. The school was opened after Bogolyubov's death and named Bogolyubov's Painting School. Among painters who attended Bogolyubov's School were such important modernist painters as Victor Borisov-Musatov, Alexei Karev and Pavel Kuznetsov.
Completed in 13 hr., 12 mins. with no box reference. 2,000 total pieces: 23.8 secs./piece; 151.5 pcs./hr. Difficulty rating: 2.4/10.
ВИКТОР БОРИСОВ-МУСАТОВ - Гармония
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: goskatalog.ru/portal/#/collections?id=4319465
www.tretyakovgallerymagazine.com/articles/N2-2013-39/symb...
Rus: Среди русских символистов Борисов-Мусатов – один из самых лиричных и светлых. Болезненный, и потому отстраненный от суетных сторон бытия, он писал: "Когда меня пугает жизнь, я отдыхаю в искусстве". Таким отдыхом была для художника работа в старинных русских усадьбах и в родном Саратове, "где меньше людей, где все проще и чище".
"Гармонию" Мусатов задумал еще в 1897 году в Париже, где он провел три зимы, совершенствуя технику рисования и живописи и изучая в музеях шедевры старинных европейских мастеров. В Париже возникли первые подготовительные этюды для этой картины, а также графические наброски, часть которых хранится в Третьяковской галерее. Основная работа над картиной развернулась летом 1899 года в Саратове и продолжалась осенью в усадьбе Слепцовка.
Именно эта усадьба изображена в картине "Гармония". На лужайке, окруженной темно-зеленой каймой низко стриженного кустарника, молодой человек в одежде XVIII века декламирует стихи двум девушкам в пышных платьях, сидящим на старинных табуретах. Серьезный, сдержанный, торжественный и галантный молодой человек весь погрузился в чтение, не замечая, что одна из девушек обернулась к подруге, словно в поиске отклика на свои впечатления.
Позади на скамейке – старушка-няня в крестьянской одежде, вдали виднеются очертания белого флигеля. Бледнеющий свет заката растворяется в сумерках, обращая фигуры в неясные светлые видения, наполняя мир беззвучием – будто голос чтеца не может проникнуть сквозь толщу времен. Прошлое кажется отсветом вечности, красота пронизана почти незаметной печалью, в воздухе разлита едва уловимая щемящая нота. Поэтическую идиллию вскоре поглотит ночь. Из-за горизонта вырастает мощное белое облако, предвещая грозу. Над лужайкой навис громадный куст – живой, шевелящийся, угрожающе темный и гораздо более материальный и плотный, чем туманные силуэты людей.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colous and unusual compositions.
Oil on canvas; 261 x 447 cm.
Mikhail Aleksandrovich Vrubel, born at Omsk in Siberia, in 1856, was the son of an officer of the Russian army - Alexander Vrubel. The family had many different ethnic roots -- Russian, Polish, Tartar and Danish. Mikhail Vrubel had an older sister Anna with whom he kept a friendly relationship until his death. His younger sister Ekaterina and brother Alexander died in childhood. This caused a deep trauma for the artist. Despite his father's rank as a colonel, the family was never prosperous. Moreover, military attitudes were not emphasized in the family; on the contrary, the parents, especially Alexander, taught the children fundamental educational skills, providing them with literature in several languages (Latin, French, German), encouraging and stimulating the children's interest in history, art, theater, music, and literature.
Mikhail Vrubel was interested in drawing from childhood. Alexander Vrubel had a positive attitude towards his son's enthusiasm for painting. Vrubel received formal painting lessons at the Society for the Encouragement of the Arts at St. Petersburg in 1864, and 1868-1869. He studied as a law student at St. Petersburg University from 1874 to 1880, but simultaneously he began to take painting classes during 1878-1879. During his study at St. Petersburg University he learned German philosophy with great enthusiasm, especially the theories of Nietzche, along with the idealist philosophers Kant and Schopenhauer.
After graduation from the Law Department, Vrubel entered the St. Petersburg Academy of Arts (one of the leading schools in Russia at that time) as a full-time student in 1880, where he studied under Pavel Chistyakov until 1884. This teacher, famous for his teaching abilities in painting and drawing, played a significant role in the development of Vrubel's style, developing in him a taste for detail. Such Russian painters as Ilya Repin, Vasilii Polenov, Victor Vasnetsov, Valentin Serov, Vasilii Surikov were also appreciative pupils of Chistyakov. The artist shared with his teacher the idea of the primary importance of drawing, modeling, form over color, and appreciation of the monumentality of classical art. Vrubel had great respect for the Art Academy and never dismissed its influence on his art as many advanced artists of the time did. In his autobiography, written in 1901, Vrubel referred to his Academy years as the happiest in his life as an artist.
The next step in the development of Vrubel's artistic career began in Kiev in April 1884 when he accepted an invitation from professor Adrian Prakhov to take part in the restoration work of old Russian churches in Kiev. Not incidentally during the 1884-1889 period Vrubel painted not only the commissioned religious works, but also images of Christ, the Virgin Mary, and angels for himself. Working in the twelfth century churches, trying to find unity with the style of the old frescoes, Vrubel remained a prominent artist of the late nineteenth century. In the figures of the saints and angels, in the plasticity of their forms and in the psychological importance of drawing, compositions, and color are evidence that Vrubel was closer to the modern ways of painting than to Byzantine and Old-Russian frescoes and mosaics. He was one of the first Russian artists who tried to develop a style that unified old traditions and modern sensibility, a style which became a basis for his future artistic experimentation.
The analysis of Vrubel's work done in Moscow, where he lived during the two decade period (1889-1910), shows the influence of old traditions and contemporary artistic movements -- Neo-Romanticism, Symbolism, Art Nouveau. Some of the artist's work have features similar to Neo-Primitivism, Rayonism, Futurism, Cubism which soon caught on with many painters in the Russian Avant-Garde.
Among the advanced Russian artists of the turn of the century, such as Isaac Levitan, Valentin Serov, Victor Borisov-Musatov, Vrubel stands out because of the originality of his art. Despite the absence of direct followers, the importance of Vrubel's art should not be underestimated. He pointed the way and made possible the experiments of the succeeding decades. This many-sided painter, sculptor, theater designer, draftsman, and illustrator can be considered as a transitional figure between traditional and modern art because of his influence on and inspiration for the artists of a new generation.
ВИКТОР БОРИСОВ- МУСАТОВ - Осень (Осенняя песнь)
☆📝
Location: State Tretyakov Gallery, Moscow, Russia.
Sources: my.tretyakov.ru/app/masterpiece/21526
www.tg-m.ru/articles/prilozhenie-k-3-2019-64/po-oke-minuv...
Rus: Среди последних работ Борисова-Мусатова – три пейзажа, написанных в сентябре - октябре 1905 года с панорамой Оки, открывающейся с верхней террасы дачного дома Цветаевых под Тарусой ("Балкон осенью", "Осень", "Куст орешника"). (В этом доме художник скоропостижно скончался в ноябре 1905 года).
Композиция пастели "Осень" чрезвычайно проста. Художник смотрит с высокого берега Оки на желтые кроны берез, образующих справа и слева кулисы. В воде отражается холодное бледно-серое небо. Над широкой полосой покрытого поблекшей травой берега поднимается синий лес. Четкие горизонтали берега контрастируют с мягкими плавными линиями опущенных, как бы усталых ветвей, создавая удивительный декоративный эффект. Замыкает композицию, придавая ей законченность, треугольник журавлиной стаи, черная цепочка, как бы прочерченная пером. "Живу в мире грез и фантазий среди березовых рощ, задремавших в глубоком сне осенних туманов. Уже давно я слышал крик журавлей. Они пролетели куда-то на юг, бесконечными рядами в виде треугольников. Крик их наполнил эти леса мелодией грусти старинной, которую я когда-то знал", – пишет он Александру Бенуа.
DAP Monet Revisited outline OilDarkMax Paper
2 of 2
акцент на книгу /
l'accent sur le livre /
emphasis on the book
Oil on canvas; 80 x 64.5 cm.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.
ВИКТОР БОРИСОВ-МУСАТОВ - Сидящая женщина. Этюд.
☆📝
Location: Voronezh Regional Art Museum named Ivan Kramskoy, Voronezh, Russia.
Oil on canvas; 168 x 136 cm.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colous and unusual compositions.
ВИКТОР БОРИСОВ-МУСАТОВ - Романс без слов
☆📝
Location: State Tretyakov gallery, Moscow, Russia.
Source: arthive.com/victorborisovmusatov/works/15707~Motive_witho...
Victor Elpidiforovich Borisov-Musatov (Russian, 1870 - 1905) was a Russian painter, prominent for his unique Post-Impressionistic style that mixed symbolism, pure decorative style and realism. Together with Mikhail Vrubel he is often referred as the creator of Russian Symbolism style.
Oil on canvas; 48 x 46 cm.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.
Oil on canvas.
Mikhail Aleksandrovich Vrubel, born at Omsk in Siberia, in 1856, was the son of an officer of the Russian army - Alexander Vrubel. The family had many different ethnic roots -- Russian, Polish, Tartar and Danish. Mikhail Vrubel had an older sister Anna with whom he kept a friendly relationship until his death. His younger sister Ekaterina and brother Alexander died in childhood. This caused a deep trauma for the artist. Despite his father's rank as a colonel, the family was never prosperous. Moreover, military attitudes were not emphasized in the family; on the contrary, the parents, especially Alexander, taught the children fundamental educational skills, providing them with literature in several languages (Latin, French, German), encouraging and stimulating the children's interest in history, art, theater, music, and literature.
Mikhail Vrubel was interested in drawing from childhood. Alexander Vrubel had a positive attitude towards his son's enthusiasm for painting. Vrubel received formal painting lessons at the Society for the Encouragement of the Arts at St. Petersburg in 1864, and 1868-1869. He studied as a law student at St. Petersburg University from 1874 to 1880, but simultaneously he began to take painting classes during 1878-1879. During his study at St. Petersburg University he learned German philosophy with great enthusiasm, especially the theories of Nietzche, along with the idealist philosophers Kant and Schopenhauer.
After graduation from the Law Department, Vrubel entered the St. Petersburg Academy of Arts (one of the leading schools in Russia at that time) as a full-time student in 1880, where he studied under Pavel Chistyakov until 1884. This teacher, famous for his teaching abilities in painting and drawing, played a significant role in the development of Vrubel's style, developing in him a taste for detail. Such Russian painters as Ilya Repin, Vasilii Polenov, Victor Vasnetsov, Valentin Serov, Vasilii Surikov were also appreciative pupils of Chistyakov. The artist shared with his teacher the idea of the primary importance of drawing, modeling, form over color, and appreciation of the monumentality of classical art. Vrubel had great respect for the Art Academy and never dismissed its influence on his art as many advanced artists of the time did. In his autobiography, written in 1901, Vrubel referred to his Academy years as the happiest in his life as an artist.
The next step in the development of Vrubel's artistic career began in Kiev in April 1884 when he accepted an invitation from professor Adrian Prakhov to take part in the restoration work of old Russian churches in Kiev. Not incidentally during the 1884-1889 period Vrubel painted not only the commissioned religious works, but also images of Christ, the Virgin Mary, and angels for himself. Working in the twelfth century churches, trying to find unity with the style of the old frescoes, Vrubel remained a prominent artist of the late nineteenth century. In the figures of the saints and angels, in the plasticity of their forms and in the psychological importance of drawing, compositions, and color are evidence that Vrubel was closer to the modern ways of painting than to Byzantine and Old-Russian frescoes and mosaics. He was one of the first Russian artists who tried to develop a style that unified old traditions and modern sensibility, a style which became a basis for his future artistic experimentation.
The analysis of Vrubel's work done in Moscow, where he lived during the two decade period (1889-1910), shows the influence of old traditions and contemporary artistic movements -- Neo-Romanticism, Symbolism, Art Nouveau. Some of the artist's work have features similar to Neo-Primitivism, Rayonism, Futurism, Cubism which soon caught on with many painters in the Russian Avant-Garde.
Among the advanced Russian artists of the turn of the century, such as Isaac Levitan, Valentin Serov, Victor Borisov-Musatov, Vrubel stands out because of the originality of his art. Despite the absence of direct followers, the importance of Vrubel's art should not be underestimated. He pointed the way and made possible the experiments of the succeeding decades. This many-sided painter, sculptor, theater designer, draftsman, and illustrator can be considered as a transitional figure between traditional and modern art because of his influence on and inspiration for the artists of a new generation.
Oil on canvas; 89 x 128.5 cm.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.
Oil on canvas; 37.5 x 48 cm.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.
Oil on canvas; 37 x 48 cm.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colous and unusual compositions.
Kuzma Petrov-Vodkin was born in Khvalynsk into the family of a local shoemaker. His first exposure to art was in his early childhood, when he took some lessons from icon painters and a signmaker. He took a summer job at a small shipyard with plans to get into railroad college in Samara. After failing his exam, he turned to "Art Classes of Fedor Burov" in 1893. By chance, his mother's employer invited a well-known architect, R. Meltzer. Petrov-Vodkin was introduced to the guest and impressed him enough to get an invitation to study art at Saint Petersburg. He also met at this time Borisov-Musatov, an important painter resident in Saratov, who encouraged Petrov-Vodkin to continue his studies. He stayed in Saint Petersburg from 1895 to 1897 studying at the Baron Stieglits School, before moving to the Moscow School of Painting, Sculpture and Architecture. There Petrov-Vodkin was a student of Valentin Serov, Isaak Levitan and especially Konstantin Korovin.
Even during his college years, he managed to enter into conflict with the Russian Orthodox Church, which discarded his work on a chapel in Samara. A number of his early works were deemed too erotic. His first well-known work was The Dream (1910), which sparked a discussion among contemporary Russian artists. Other major works of that time include Boys at play, and, notably, Bathing of a Red Horse, his most iconic work. The latter became an instant classic. During this stage he extensively used an aesthetic of Orthodox icon together with brighter colors and unusual compositions.