A story about a picture of a girl with peaches. A certificate from the educational institution with the obligatory indication of the faculty is presented
Valentin Serov. Girl with Peaches (Portrait of Vera Mamontova). 1887 Tretyakov Gallery, Moscow
"Girl with Peaches" is not just a calling card of Valentin Serov (1865-1911).
This is a unique work that allows you to understand the artist at a very deep level. There is so much "wired" Serovsky in it that you can talk about it endlessly.
Young Serov
"Girl with Peaches" shows how Serov was original. It is enough to know the circumstances under which it was written.
Imagine, it was created by a very young artist who has hundreds of other works ahead of him.
He was only 22 years old. It says one thing. Serov was so talented that he managed to create masterpieces, not yet possessing serious skill.
Although Serov had one important advantage over others.
He was born in creative family. His mother was a composer. It was at her suggestion that Serov, already at the age of 9 (!) began to study not with some mediocre painter. And at the very.
Therefore, already at the age of 15 he wrote quite strong works. Like, for example, the portrait of Lyalya Simonovich.
Valentin Serov. Portrait of Lyalya Simonovich. 1880 Russian Museum, St. Petersburg
But another fact strikes me. "Girl with Peaches" was created immediately after Serov's trip to Italy. Where he studied the masterpieces of the old masters.
And despite all his impressions, he creates his “Girl with Peaches”, which bears little resemblance to the work or.
It is written in the style of... As you understand, there was no smell of Impressionism in Italy at that time.
Serov the Impressionist
Serov most likely did not see a single work before the creation of his "Girl with Peaches". And few of the Russian artists have seen them. Especially gifted, as you already understood, were sent to Italy. Learn realism.
It turns out that Serov wrote, like an impressionist, intuitively. And this is not his only work in the style of impressionists. The following summer, he created another of his masterpieces, Girl in the Sunlight.
Valentin Serov. The girl lit by the sun. 1888 State Tretyakov Gallery, Moscow
There are a lot of signs of this “airy and sunny” style in The Girl with Peaches.
The strokes on it are not hidden, creating an atmosphere of lightness and freshness.
One can also see Serov's desire to capture a vital moment. As if the girl had just run into the room. This is evidenced by the blush on her cheeks. She sat down at the table and grabbed a peach. Now she will cut it with a knife and enjoy it.
Everything, as the Impressionists loved. No climaxes, twisted plots. Just a moment from ordinary life.
There is also the effect of “random” composition characteristic of the Impressionists. See how interestingly the space is “cut off” by the frame.
To the left is the edge of another room and a chair in it. On the right, a candlestick barely fit into the frame. This also emphasizes the vitality of what is happening.
But one thing still distinguishes Serov from the Impressionists. Those usually worked quickly. After all, they wanted to capture the moment here and now. Until, for example, the sun went down. Their masterpieces are the result of hours of work.
Serov did not know how to work quickly. And The Girl with Peaches is no exception. He painted this picture ... 2 months. Started in August and finished in September.
Hence the yellow foliage outside the window. And the peaches themselves, which ripened in the Mammoth greenhouse just in September-October.
Serov-psychologist
Serov was a psychologist by nature. And even at such a young age he managed to capture the character of Vera Mamontova.
The girl was very mobile and inquisitive. But at the same time, she was already entering the stage of adolescence. Therefore, she knew how to control herself and pose for the artist.
We can easily read all this from the created image.
Valentin Serov. Girl with peaches (detail). 1887 Tretyakov Gallery, Moscow
Lively eyes, in which a sincere interest in what is happening is visible. Tanned skin. The girl is clearly everything free time spent outdoors.
Slightly disheveled hair, simply cut. Hands casually hold a peach. An easy-going, fun-loving girl.
Her light pink blouse with a smart bow, as well as the simple furnishings of the room, very well echo this character.
Now compare the portrait of Vera with the portrait of her cousin Praskovya Mamontova. It was written in the same year by the same 22-year-old Serov.
Valentin Serov. Portrait of Praskovya Mamontova. 1887 Private collection
Cherry dress. Gray burgundy background. The chin is down. The eyes look slightly slanted.
A completely different color scheme, a different facial expression, a different pose.
Before us is a girl who is inclined to immerse herself in herself. She is more vulnerable, less mobile than Vera.
Serov and the Mamontov family
Although Vera Mamontova is depicted in close-up, Serov managed to include many remarkable details in the surroundings.
It immediately becomes clear that he is well acquainted not only with the girl herself, but in general with this house and its atmosphere.
Indeed, Serov considered the Mamontov estate in Abramtsevo his second home. He has been here for a long time every year since the age of 10.
His mother was a very busy woman who didn't really take care of her son. And here he felt loved and needed. There are so many interesting details here.
Vsevolod, Sergei, Alexandra and Andrei Mamontov (brothers and sister of Vera Mamontova). Dining room in the Abramtsevo estate (where Vera Mamontova posed). Late 1880s.
What can we read from these details?
Pay attention to how many chairs fit in the frame of the picture! The photo of the same dining room shows that there really were a lot of them. It is obvious that the family was large and loved the guests in it.
Yes, the Mamontov estate was essentially a club for creative people. Vasnetsov, and, and were often here. And many other artists, writers, actors.
We also see that the furnishings of the house are quite simple. Although the Mammoths were rich people. Light walls, an ordinary tablecloth, a lonely painted dish.
No luxury. The owners were not arrogant people.
Valentin Serov. Savva Mamontov. 1891 Tula Museum fine arts.
Savva Momontov, the head of the family, was called the Russian Medici. For his patronage of talented people. He didn't care financial situation guest. People in this house were valued for their talent and human qualities.
In a spacious, sunny room, a girl sits at a large dining table, holding a golden peach in her hands. Her rebellious dark hair is disheveled, her brown eyes look calm, but a sly light lurks in them. Before us is a painting by the talented painter V.A. Serov “Girl with Peaches”. This is a portrait of twelve-year-old Verusha Mamontova, daughter of a Moscow merchant and philanthropist. Seeing a lively and restless girl at the moment when she ran out of the garden with a peach in her hand, the artist invited her to pose. Although at first glance, it seems that the picture was created in a fit of inspiration, the work took more than three months. It was this work that brought Serov fame.
From the canvas, a dark-skinned girl with burning eyes, dark as coals, stares intently. There is something sparkling and mischievous in this look, as if she had planned some kind of prank. Her lips are tightly compressed, she tries to look serious, but joyful laughter breaks out. From slightly flared nostrils, tousled hair and a slight blush on her cheeks, it becomes clear that the girl was frolicking in the garden just a couple of minutes ago. The girl's pose expresses barely restrained impatience, as if she had just sat down at the table for a minute, and is about to break like a butterfly and run away to play. She is full of life and energy, so she cannot sit still for a long time. The artist managed to accurately capture the moment and capture it on canvas. The picture is saturated with an atmosphere of lightness and carelessness, which occur only in childhood.
With special attention, the artist wrote down the details, depicting the life of the noble estates of that time. A tablecloth, neatly laid with the edges up, so that they do not hang down, indicates that the family has Small child. Ripe large peaches, an elegant knife and a pair of maple leaves are laid out on the lapel. One can imagine that Verusha got it all in order to treat everyone present. Hospitality and cordiality were considered good manners. The atmosphere in the room is cozy, so there is no doubt that a happy, cloudless childhood flows here.
A gentle blush appearing on the cheeks is in harmony with the color of the peaches lying on the table. Slender fingers grasped the velvety-skinned fruit. They are written so realistically that there is a desire to eat them. Elements of still life and landscape expand the standard notion of a portrait. The artist uses contrasting colors against the background of a general pastel range. The heroine with dark curly hair is dressed in a pink blouse with a large black bow decorated with a scarlet carnation, dark wood chairs are placed around.
Soft sunlight pouring from the windows fills the entire space with multi-colored highlights. It shines iridescently on the walls, furniture, on the snow-white tablecloth covering the dining table, and on the silver knife. Reflections glide over a tanned face main character, shimmer like mother-of-pearl on a blouse, fill her entire figure. The whole picture seems to be permeated with clean air, lightness and light. Outside the window are the last days of summer or autumn is just beginning, as there are a lot of green foliage on the trees.
The painting “Girl with Peaches”, painted over a century ago, captivates with its unique warmth and light. The artist managed to show all the beauty and serenity of a wonderful time - youth. One has only to look at the portrait, and a feeling of joy and peace arises in the soul.
"Girl with Peaches" is one of the most famous paintings the great Russian artist Valentin Alexandrovich (1865-1911). The painting was painted in 1887, oil on canvas. 91 × 85 cm. Currently represented in the State Tretyakov Gallery in Moscow.
Girl with peaches Serova description
The painting depicts the daughter of the famous Russian businessman and philanthropist Savva Ivanovich Mamontov, 12-year-old Vera Savvishna. Valentin Serov painted a picture in the estate of Savva Mamontov in Abramtsevo. Vera is sitting at a table in the dining room. She is wearing a pink blouse with a dark blue bow. There is a knife and peaches on the table. In 1871, the Mamontovs bought peach trees and planted them in their own greenhouse.
With its realism and vitality, the portrait of Vera Savvichna amazes the viewer. Everything is simple and natural in the picture, there are no frills and unnecessary details, and this vital simplicity makes a person accept the picture not with the mind, but with the heart and soul, believe in what is happening and feel that very moment, the silence and calmness of a sunny and warm day. The picture has become a real masterpiece of Russian painting and even Serov's "calling card". The picture has become so famous that today almost everyone in our country knows it. Schoolchildren write an essay based on a picture already in the third grade of the school.
The history of the painting Girl with peaches
As you know, it all started with the fact that Valentin Serov, who was visiting the Mamontovs in 1887, saw the owner's daughter Vera, who ran into the house, took a peach and sat down at the table. The artist immediately saw this as a plot for his painting and invited the girl to pose, to which she agreed. Serov painted the picture for almost two months, and every day Vera sat at the table, posing for the artist.
After the completion of the work, the painting was presented to Vera's mother, Elizaveta Grigorievna Mamontova. For a long time she hung in the room. Later, the painting was replaced with a copy, and the original was sent to Tretyakov Gallery. As noted in the documents, the painting was purchased from A. S. Mamontova in 1929.
In 1888, Valentin Serov was awarded the prize of the Moscow Society of Art Lovers for this painting. Valentin Serov himself said that for all the time he had been working, he had exhausted the poor girl, who had to constantly sit still. He begged her: “Well, sit down, do yourself a favor ... I will paint such a portrait, you won’t recognize yourself. You will be beautiful! ”, To which she replied:“ You will torture me ... It’s boring to sit, summer ...". Perhaps it was this summer mood, happiness from sunny days and childish impatience that were reflected in the picture, giving it freshness, lightness, and a wonderful atmosphere.
"Girl with Peaches" Serov wrote all three summer months of 1887, while he was visiting Savva Mamontov in Abramtsevo. He wrote with difficulty: firstly, he barely persuaded Savva's daughter, 12-year-old Verochka Mamontova, to pose, and secondly, she could not sit at the table for hours in the heat without moving. But the portrait worked. It can be said that it has become the visiting card of the artist.
In the picture we see a corner of a large room flooded with silvery daylight: a swarthy, black-haired girl in a pink blouse with a black bow with a white pea is sitting at the table. The artist painted a portrait of Vera in the dining room, outside of which one could see Abramtsevo Park with an alley named Gogol in honor of the writer who once loved to walk here. In the next room - the Red Drawing Room - writers and artists often gathered.
The estate in Abramtsevo was a real home of creativity: Turgenev, Antokolsky, Surikov, Korovin were guests here. Vera Mamontova was painted by many artists who visited Abramtsevo: Repin, Vasnetsov, Vrubel also created her portraits. Vrubel endowed her with the features of "Snow Maiden", "Egyptian", Tamara in the illustrations for "Demon". V. Vasnetsov explained the artists' desire to paint her in this way: "It was the type of a real Russian girl in character, beauty of her face, charm." But the most famous was Serov's painting "Girl with Peaches".
In the hands of the girl is a peach, the same swarthy pink as her face. Withering maple leaves, peaches and a silver knife lie on a dazzling white tablecloth. Outside the window is a bright, bright summer day, tree branches stretch into the glass, and the sun, making its way through their foliage, illuminates the quiet room, and the girl, and antique mahogany furniture. The girl herself looks like a butterfly: she fluttered into the house for a moment, with the sun and a warm wind, sat on the edge of a chair, illuminating the room with a smile, and immediately flew back to the street, where the summer day was shining with might and main.
The picture was painted in the estate of S. Mamontov Abramtsevo in 1887. This is not just a picture - this is a whole novel about people who own a house, a garden, all these things; this is the story of a girl, a story about her character, about her experiences - pure, clear and young. Perhaps, without realizing it himself, the artist told in this canvas everything that he knew about the Mamontovs, showed everything that he loved in them - in their family and in their house.
How did the fate of the girl develop further? Vera married Alexander Dmitrievich Samarin, the future chief prosecutor of the Holy Synod (Minister for Church Affairs) and marshal of the nobility of the city of Moscow. His popularity among Orthodox Muscovites was so great that when a metropolitan was elected in Moscow in the summer of 1917, among the candidates were: Archbishop Tikhon of Yaroslavl (later elected Patriarch) and layman Alexander Samarin.
The wedding took place on January 26, 1903 in Moscow on Povarskaya in the church of Boris and Gleb - this was the parish of the Samarins (they lived nearby on Povarskaya Street). Later, the church was destroyed by the Bolsheviks, now there is a chapel on this site - right next to the exit from the Arbatskaya metro station. Everyone rejoiced for them - Samarin's parents for many years did not give consent to his marriage to Vera, and only after the death of Alexander Dmitrievich's father, they were finally able to get married. The newlyweds settled in their estate near the village of Averkievo, Pavlo-Posad district. In April 1904, the Samarins had their first child, Yura.
In August 1905, the daughter Liza was born, in May 1907 - the second son, Sergei. And on December 27, 1907, Vera Savvichna died suddenly from transient pneumonia. Burned out in three days. They gathered for Christmas with the whole family in Abramtsevo, stopped in their Moscow house on Povarskaya and ... They buried her in Abramtsevo, near the Church of the Savior Not Made by Hands.
She was only 32 years old. All cares for Vera's children were taken over by her sister Alexandra Savvishna. After the death of Vera, this picture always hung over the desk of Alexander Dmitrievich Samarin.
Alexander Dmitrievich outlived Vera by 25 years. He never married again. In memory of his beloved wife, Samarin built the Church of the Life-Giving Trinity in the village of Averkievo, not far from their estate. In the 1930s, the temple was closed and looted, and throughout the years of Soviet rule it was used as a utility room, including storage of various chemical fertilizers. The temple has now been restored.
In the summer of 1918, under the threat of arrest, Alexander Samarin was forced to leave Moscow (the Chekists came for him with a warrant for arrest in his absence) and for some time he lived in Optina Pustyn. On September 25, 1918, he was arrested in Bryansk; a letter from Patriarch Tikhon was confiscated from him with instructions to negotiate in Kiev on the problem of the autocephaly of the church in Ukraine. He was imprisoned in the Oryol prison-isolation. In November, he was taken to Moscow, initially held in the VChK prison on Lubyanka, then transferred to Butyrka prison. On Easter 1919, he participated in worship in prison as the leader of an impromptu choir. April 19, 1919 was released.
He continued to work as chairman of the Council of United Parishes of Moscow, in whose case he was arrested on August 15, 1919. He was one of the main defendants (together with Professor Nikolai Kuznetsov) at an open trial in this case, which took place in the October Hall of the former Nobility Assembly. Sentenced to death with the replacement of this measure with "imprisonment until the final victory of the world proletariat over world imperialism" He was imprisoned in the Taganskaya prison.
A.D. Samarin with his daughter Liza, 1905. (Photo from the family archive).
In the spring of 1922 he was released. He lived in Abramtsevo, where he actively participated in the work of the museum. In the autumn of 1925 he was arrested again, kept in solitary confinement in the inner prison at Lubyanka and in Butyrka prison. On May 21, 1926, he was sentenced by a special meeting at the OGPU collegium to three years of exile in Yakutia "for participation in the Black Hundred-monarchist group" Danilov Synod "". From September 1926 he was in exile in Yakutsk together with Archbishop Guriy (Stepanov), translating from German O. Bötling's book on the scientific grammar of the Yakut language and teaching German. All the years of the Yakut exile, his daughter, Liza, spent with him ...
In Yakutsk he continued to participate in divine services. In September 1928 he was transferred to Olekminsk, where he taught German to the doctors of the local hospital. In June 1929 he was exiled to Kostroma, where he was a reader, singer and choir director in the Church of All Saints. In his ecclesiastical and political views, he was close to the "non-remembering" - the opposition to the course of Metropolitan Sergius (Stragorodsky). In the spring of 1931 he was last time arrested, kept in a Kostroma prison, but was released with an increase in the term of exile.
Alexander Dmitrievich himself died in Kostroma, where he was exiled as a "socially dangerous element." He was buried at the Alexander Nevsky cemetery in Kostroma. Rehabilitated in 1989 by the investigative department of the KGB of the USSR.
Serov Valentin Alexandrovich (1865-1911)
Once the humblest Valentin Alexandrovich Serov reproached in a friendly conversation I. E. Grabar for being the last in his " Introduction to the history of Russian art overrated one of his early works - portrait Verushi Mammoth.
I myself appreciate and, perhaps, even love him, - he said to Grabar. - In general, I think that I have written only two tolerable ones in my life - this one, and even “under the tree” ... All I wanted was freshness , that special freshness that you always feel in nature and do not see in the pictures. I painted for more than a month and exhausted her, poor thing, to death, I really wanted to preserve the freshness of painting with complete completeness - that's how old masters. I thought about Repin, about Chistyakov, about the old people - the trip to Italy had a great effect then - but most of all I thought about this freshness. Never thought about it so hard before...
"was created before the age of twenty-two Serov in 1887, and 25 years later, in 1913, two years after the death of the artist, Igor Grabar wrote in his monograph about Serove:
“There are creations of the human spirit that outgrow the intentions of their creators many times over. It happened that a modest schoolteacher, who for many years sat with his back bent in his closet over some unnecessary manuscript, half a century after his death, turned out to be the creator of a new worldview, the father of a new philosophy, the ruler of the thoughts and moods of the age. He himself did not realize the full significance and value of his work. This is how the most extraordinary discoveries were made, how many great works of poetry, music, sculpture, architecture and painting were created. This amazing Serovskiy portrait. From the study " girls in pink", or " Girls at the table”, he grew into one of the most remarkable works of Russian painting, full of deep meaning picture, which marked a whole strip of Russian culture.
It has been a quarter of a century since the writing portrait, other times have come, and what was, cannot be returned. There is no more in the world and this teenage girl, with such a wonderful, inexpressibly Russian face, that if it weren’t there below Serovskaya signatures, yet one could not doubt for a minute that this was taking place in Russia, in the old landowner's house. One can probably say that this old furniture was not bought from an antique dealer, but it was hardly appreciated then: maybe at times they thought about replacing the “clumsy and uncomfortable old junk” with a fresh and “elegant headset”, but somehow there was no time to mess around - let yourself be worth it. Outside the rustic window you can't see, but you feel the alleys of the park, the sandy paths and all that inexplicable charm that pervades every trifle of the old Russian estate.
In all of Russian literature, I do not know anything that would act on me so strongly as a few lines from Tatyana Onegin's rebuke:
Now I'm happy to give
All this rags of masquerade
All this brilliance, and noise, and fumes
For a shelf of books, for a wild garden.
For our poor home
For those places where for the first time,
Onegin, I saw you.
Yes, for a humble cemetery.
Where is now the cross and the shadow of the branches
Over my poor nanny.
In Russian painting, I know only one thing that reminds me of Pushkin's incomparable poems - Serovskiy portrait V. S. Mamontova. You can't see a "shelf of books" here, but I'm sure that there is, there certainly is - either right there or in the next room - as I probably know that somewhere at the end of the garden there is a "cross" and the "shadow" is quietly moving branches" over someone's dear grave."
The Abramtsevo estate near Moscow, which belonged to S. T. Aksakov, passed in 1870 into the possession of Savva Ivanovich Mamontov, a major industrialist, art lover and artist who managed to attract many remarkable Russian painters to the Abramtsevo art circle. To the Mammoth family Serov he entered as a child, was in her like a native, was friends with the children of Savva Ivanovich. Mamontov's son, Vsevolod Savvich, recalls:
“On the basis of this friendship, the famous Serovskaya"", one of pearls Russian portrait painting. Only thanks to their friendship, it was possible Serov to persuade my sister Vera to pose for him. On a fine summer day, a twelve-year-old cheerful, lively girl is drawn to freedom, to run around, to play pranks. And then sit in the room at the table, and even move less. This job Serov demanded many sessions, my sister had to pose for her for a long time. Yes Anton (friendly nickname Serov. - V. L.) and he himself admitted the slowness of his work, he was very tormented by this and subsequently told his sister that he was her indebted debtor.
Serov have worked above portrait « drunkenly”, Carried away by the consciousness that his business is arguing, “goes like clockwork.”
» - one of the first major works V.A. Serov. This painting created at dawn creative life artist, revealed the enormous scale of his talent and immediately determined his place and significance in the history of Russian painting.
So on picture the common favorite of the artists visiting Abramtsevo is depicted - Vera Savvishna Mamontova, Verusha, one of the most gifted Russian women, whose life was interrupted early by an unexpected death.
Not only in the appearance of Verusha, but also in the features of her impetuous character, there was a lot of her father's - ardor, passion, enthusiasm for novelty. In the exciting boiling of Abramtsevo artistic life, in the friendly and joyful creative atmosphere that reigned here, to which so much is due Russian art, in this life "with a father's spark" Verusha brought her own distinct note, which increased the general high artistic mood of the wonderful community, who lived and worked in an old Aksakov house on the high bank of the Vori River.
“It was the type of a real Russian girl in character, beauty of face, charm,” said Viktor Mikhailovich Vasnetsov, the most devoted member of the Abramtsevo community of artists, recalling Verusha.
Alive, tanned, with large dark radiant eyes, with a hat of rebellious thick hair, she stares at the viewer, all flooded with light breaking through the windows and playing with multi-colored reflections on the wall, on a majolica dish hung in the wall, on the backs of chairs, on the table by the window, on a candlestick, on the silver of a knife and velvety fruits lying on the table.
Joyful, unusually invigorating sunlight, falling from the windows, saturates the entire space of a large bright room, glides across Verusha's face, creating an exquisite play of lilac and blue tones on a pink blouse, shimmering with mother-of-pearl reflections, sliding with multi-colored highlights, playing with colored spots on the tablecloth.
Swarthy, with a blush showing through the tan face Verushi shaded in picture a general bluish, cold tone, coloring, which is softened by warm tones of fruits and leaves and a sonorous tone of a red bow on the chest.
In everything portrait one feels thoughtful compositional completeness, which distinguishes all subsequent portrait work Serov. The figure is inscribed in the environment, as in a natural living environment, which turns portrait v picture, and the masterfully painted space saturated with light and air - not only the dining room, but also the neighboring living room and the park outside the window - makes this picture especially attractive, exciting, lively.
Portrait Verushi Mammoth, which struck all of Moscow at that time, is one of the most beautiful creatures Russian portrait skill not only by the power of execution, but also by the type of the depicted person, who bears the features of national Russian beauty.
Academician M. V. Alpatov wrote about this portrait:
"Who does not know in the Tretyakov Gallery" girls with peaches, this cute swarthy naughty girl? She only sat down at the table for a moment, looking askance at us with her brown eyes, in which a light lurked. Her nostrils flare a little, as if she can't catch her breath from a fast run. Her lips are seriously compressed, but there is so much childish carefree and happy slyness in them! .. Everyone knows her like that, she has become a universal favorite. Siblings " girls with peaches"can be found in Russian literature in Pushkin, Turgenev, Chekhov, especially Tolstoy."
The freshness of youth blowing on us from the face Verushi Mammoth, transferred Serov with striking, incomprehensible subtlety and nobility. Starting from this amazing debut, we can confidently speak of Serov contribution v world art.
And now the bright sunlight floods the familiar dining room in the museum-estate "Abramtsevo". The only thing missing here is the dining table, at which dear Verusha once sat, posing for her beloved older friend. Everything else has been kept as it was. Serove and at Serov: on the stand stands the figure of a grenadier - a toy made by Sergius handicraftsmen, painted Serov, above it is a majolica plate. The sun shines through the window...
Painting "Girl with peaches" for a long time was in Abramtsevo, in the same room where it was written. And then it was transferred to the Tretyakov Gallery, while a copy of this work is currently hanging in Abramtsevo.
The section was created based on the materials of the book " Wonderful canvases"Publishing house" Leningrad "1962
Composition of the painting "Girl with peaches"
Italian impressions largely determined the creative well-being Serov, when at the end of the summer of the same 1887 in Abramtsevo he worked on a work from which his artistic fame began, painting", creating in it a radiant image of youth, beauty, which became a direct manifestation of his then excitedly poetic attitude to the world. "All I wanted," he later said, "is freshness, that special freshness that you always feel in nature and not see in pictures. I painted for more than a month and exhausted her, poor thing, to death, I really wanted to preserve the freshness of painting with complete completeness - that's how old masters". However, "to preserve the freshness of painting" for him at the same time meant to preserve the freshness of that joyful feeling with which this canvas was painted, to convey all the charm of a fleeting impression, but at the same time to "stop the moment" in order to achieve "finality", and therefore , working from nature on portrait twelve years old Verushi, daughters C. Mamontova, he, remembering the lessons of Repin and Chistyakov, deliberately solved it as picture. live, immediate teenage girl posed for a twenty-two-year-old artist in a light-filled room, sitting at a table covered with a white tablecloth, dressed in a pink sweater with a large blue bow with white polka dots pinned to her chest and a huge red carnation. The light pours from behind the window, behind which one can see the foliage of trees slightly touched by autumn yellowness, "flows" into the next room. Painting as if woven from light and air. In solving this problem coloring paintings plays the most active role: a white tablecloth, light walls of the room, a pink "spot" of a sweater in the center, and given that Serov and white is not white, and pink is not pink, but everything is in reflexes, that each section of the pictorial surface complements and enriches those adjacent to it, and that texture is important in conveying a sense of variability, transience, it may seem that indeed his canvas - a large impressionistic study.
Painting composition dynamic no less color. Built diagonally (which is the line that marks the edge of the table), it appears to be "open" in all directions and fragmented, like a frame of an instant photograph. In the organization of the depicted space, another, invisible, diagonal takes part, coming from the depths, from the window behind the girl's back. Let's mentally draw two more diagonals - from corner to corner, and we will see that her head is located a little higher than the point of their intersection, almost at the top of the isosceles triangle, the base of which is the upper edge of the canvas. Her figure is also inscribed in a clear isosceles triangle, its base is the girl's left hand lying on the table. Thus in picture everything is strictly balanced, stable, but clear logic did not damage her emotional structure. In the spotlight Serov first of all, the image of his young heroine remained, although many different objects fell into the artist's field of vision. These are antique chairs, armchairs and a table - all dark wood, polished, reflecting the light falling on them, their predominantly curvilinear outlines echo the contour of the girl's figure, the silhouette, serving as a kind of "frame", helps to fix her position both in the depicted space and on the plane canvases. The cap of her thick dark brown hair and a large blue bow on a pink background are equally stable "dominants" of this strictly calculated compositions. Only thanks to her poise, accuracy, our attention can focus on Verusha's face, on which a palatal blush plays through a deep, even tan. The lively look of her brown eyes, a light, barely perceptible movement of her lips, their corners are slightly raised, a smile at any moment is ready to illuminate the face of this half-child - half-girl. The tender, feminine hand of her left hand, calmly lying on a white tablecloth, is extremely beautiful. In contrast to it, with a few vigorous strokes Serov outlined the right hand, conveying the jerky movement of the fingers clasping the peach. A rare harmony of movement and rest, fleeting and stable, ends with the image of a silver fruit knife lying on the table, slightly withered maple leaves and ruddy fruits, the shape and especially velvety surface of which seem to "echo" with the gentle face of the sweetheart. Serovskaya models.
V.B. Rosenwasser
Description of the artwork "Girl with peaches"
In the picture we see a corner of a large room flooded with silvery daylight: a swarthy, black-haired girl in a pink blouse with a black bow with a white pea is sitting at the table. V girl's hands peach, same dark pink like her face. Withering maple leaves, peaches and a silver knife lie on a dazzling white tablecloth. Outside the window is a bright summer day, tree branches stretch through the glass, and the sun, making its way through their foliage, illuminates the quiet room, and the girl, and antique mahogany furniture. Everything in this picture is natural and unconstrained, every detail is connected with one another, and together they create an integral work. The beauty of a girl's face, poetry lifestyle, light-saturated colorful painting - everything in this work seemed new. This work of a young artist struck his contemporaries with the freshness of light, radiant color, subtle transmission of light and air.
Descriptions of paintings
Painting "Girl with an apple"
Interests of the first painter half of XIX centuries of Vasily Alexandrovich Tropinin are closely connected with the name of Jean Baptiste Greuze. Tropinin copied this painter all his life, “quoted” and even frankly borrowed the compositions of his individual works. These are, for example, “Girl with an Apple” (Tropinin’s only surviving work of the academic period) and “Boy yearning for his dead bird”, shown at the academic exhibition of 1804 and brought the first recognition to the author. For Tropinin, the name of the “Russian Dream” was assigned, which not only determines his place in national painting, but indicates an organic connection with the art of the French master. If in the works of the Dutch and Flemings Tropinin found support for his realistic orientation, searches in the field of the genre, then with Greuze he was brought together by the sentimentalist-enlightenment worldview inherent in both of them. Tropinin saw Greuze's original works - at the Academy of Arts, in the Hermitage, and later - in private collections. Thus, Tropinin could thoroughly study the manner of the artist he revered.
The picture is a Russian-interpreted copy of the popular image of French sentimentalism - the head of Dreams “Girl with an Apple”. As far as the connection between Tropinin's work and Grezov's, which literally repeats the original in the plot, composition, in the turn of the figure and accessories, is clear, their dissimilarity in the main is just as clear. The image of the Dream is abstract, devoid of individual features - it is a concocted alloy of sensual ecstasy and youthful good looks. The image of Tropinin is essentially a portrait. Although Tropinin tried to follow the original chosen by him as closely as possible, he retained its almost exact size (34.7 x 27.5), tried to literally reproduce the pose and clothes of the Grezov girl with an apple (apparently this was the reason for the unnatural and far-fetched pose in the picture Tropinin), but the head, the face of the child, the author wrote from nature.
It was here that the diametrically opposite interpretation of the same image by two artists was discovered. The graceful sensual head of Dreams, thrown back in dark ecstasy, Tropinin replaced with a sad face, perhaps a serf girl, writing it with all immediacy and truth. In the thoughtful look of the eyes, in the sad face, framed by a mop of fluffy hair, one can most likely read a difficult, not at all childish lot. The girl's eyes with pupils flat and opaque, as if shrouded in haze, with blue proteins, with dotted highlights, do not look at the viewer, but are directed somewhere into an unknown distance. The nostrils and lips of the child are outlined more accurately and in detail. Dabs of red paint are placed at the top of the eyelid, at the nostrils, in the outlines of the fingers, as if blood is shining through the skin. A slight blush on the golden surface of the girl's face echoes the thick pink color of the apple.
In the painting "Girl with an Apple", attention is drawn to the discrepancy between a complex, well-developed painting technique inept drawing, helpless composition, which, apparently, was the result of the inconsistency of the education of the artist, who did not have time to thoroughly master the beginnings of the academic school, but trained his hand and eye to copy. “Girl with an Apple” reveals before us the very origins of Tropinin's work, which grew up on the soil of Russian sentimentalism.
Children with fruits
American artist Morgan Weistling
Morgan Weistling is a contemporary American artist. Morgan, the third child in a family of artists, was born in 1964. WITH early years he lived among easels and paints, and he read the first, most important books on art from the vast family library, sitting on his father's lap.
Once, when Morgan was still a student and worked in an art shop, a famous illustrator came into the shop. Morgan showed him his student work and the next day he was hired by one of the major agencies that design posters for Hollywood movies. “Then the only thing I wanted to do was be an illustrator. And one day it happened!” Morgan says. Over the next 14 years, he illustrated for many Hollywood film studios. Morgan later began exhibiting at Trailside Galleries.
In his free time, he painted for the soul, and the first serious picture was appreciated by the co-owner of the Trailside Gallery, Marivonne Lesh. “He sent us his paintings without frames, but even before they were hung, they were sold! His first showing consisted of 26 paintings, all sold out within five hours. The next year, at his second solo exhibition, all the paintings were also sold long before the opening!”
In 2000 he won the Prix de West Invitational and Masters of the American West Exhibits. And in 2001 he won the Non-Jean Halsey Buyer Prix de West Award for his painting Dance.
In 1990, Morgan met his future wife in art school. He and Joanne had two daughters, Brittany and Siena. Both girls often act as models for Morgan's paintings.
Peach
Peach(botan. Makum persicum, "Persian apple") - a fruit highly valued in antiquity, imported from the East in the 1st century. AD, often mistaken for an apricot. When a laurel grew over a peach tree in the garden of Emperor Alexander Severus, this was seen as an omen of victory over the Persians.
In ancient China, the peach was considered a symbol of immortality or longevity. peach blossom - a symbol of a fresh young girl, as well as frivolous women and "peach blossom madness" as periphrases of the confusion of feelings in adolescence.
Framing workshop services
A large selection of baguettes and passe-partouts, high-quality materials for the design of works, modern technologies production of baguette frames, creative approach to design inherent in our employees, short lead times for orders are the main characteristics of our baguette workshop. There are many wonderful framing workshops in Moscow, and our workshop occupies a worthy place among the best of them.
Some baguette workshops offer a full service - from the departure of employees to your home or office for measurements and delivery of the finished order to the installation of a decorated picture on the wall.
Types of works of framing workshops:
Picture hanging systems
For picture pendants can be used perlon line, which is attached to rail from a metal profile. If necessary, you can simply move picture to the right place. The most important thing is to drill holes v wall only need to do it once installation picture hanging system.
Framing workshop Moscow
Urgent framing workshop
Framing workshop in Moscow located on st. Gilyarovsky, has a convenient location in close proximity to the metro station Prospekt Mira.
Prices on the design services baguette workshop. Framing Workshop expands the scope of activities in Moscow and Moscow region to provide design services individuals and organizations. The main purpose baguette workshop custom frame manufacturing. Urgent production order v workshop. For ever-increasing demands baguette workshops Keencut Inc. responded with a new concept of "continuous development". The main goal of Keencut is the development of design programs to help baguette. The company uses 3D modeling technologies baguette equipment.
Frames to order
Urgent order in the framing workshop. Baguette frames to order. Workshop manufactures from wooden, plastic and aluminum baguette the best baguette firms Europe. Mirror frames. Golden baguette frames. Baguette frames With mat. Baguette frames retail and wholesale. Framework standard sizes - framework A3, A2, A4. Baguette frames big sizes. Framework from wide baguette. Baguette frames a3 co glass. A3 plastic frames co glass. Glareless baguette glass. Prices on the baguette frames.
Baguette Moscow
Ordering a baguette for paintings
Order a baguette for frames v Moscow baguette workshop. Urgent production ordered framework v baguette workshop GALLEON. The artistic value of a baguette depends on the profile and relief pattern. Depending on the width, the baguette is called narrow and wide, and depending on the thickness - low and high. Wood baguette for pictures. Wooden baguette. Baguette made from various breeds tree a wide variety of profiles, with various decorative finishes: ornaments, different colors, lacquer and golden coatings. Mirrors in a baguette. framing mirrors v golden baguette. Price baguette v Moscow.
Ordering a passe-partout in a framing workshop
Passepartout order in baguette workshop. Passe-partout is made of colored cardboard, in which a “window” is cut out. As passe-partout for paintings used by baguette with a flat profile - the so-called "wooden mat" - wide flat baguette, usually light colors, often with imitation textures canvas or covered real canvas. Raw sidewall, trimmed cloth, suede or under gold, flat baguette insert located between painting and frame, increasing her width. Passepartout can to order and buy v our workshop. For small baguette workshops Kaibab Artistic has created the Eclipse LT, a modified version of the computerized machine for cutting out mat.
Moscow
Baguette in Moscow
Framing Workshop is in center Moscow, on st. Gilyarovsky, has a convenient location in close proximity to the metro station Prospekt Mira.
Baguette Moscow. Prices on the baguette design services. Baguette frames order urgently v Moscow baguette workshop. Passepartout in Moscow.
Moscow- capital Russian Federation, administrative Centre Central federal constituencies and Moscow region.
mirror frame
There are many options design mirrors: from massive baroque frames with bronze candelabra thin metallic edging v style high tech. Big choice frames for mirrors. Wood baguette for mirrors and paintings. Mirrors in a golden baguette. Order frames for mirrors v baguette workshop. Frame attaches mirror decorative and determines its belonging to a particular style. Gold frame for a mirror v living room. Plastic frames for mirrors v hallway, kitchen and bathroom. Mirror can "amaze" with an interesting shape, original frame. Via mirrors you can hide the flaws in the layout of the home. Mirror in a wooden frame for the living room. Mirror in the interior creates the effect of expanding space. Usually mirrors placed in hallway, bedroom, bathroom. Mirrors large sizes. Making large mirrors. Prices on the mirrors.
Ordering glass in a framing workshop
Ordering glass in a framing workshop. glass terminal frames without baguette. Glass photo frames. V picture frame or in photo frame cutting and pasting glass is easy. If the glass is to be inserted into a frame with a recess (rebate), then the size of the glass must be a few millimeters smaller than the measured sample size. If the dimensions of the sample are constant over its entire width and height, then an allowance of 2 mm is sufficient. Baguette glass order. Let's cut glass of any sizes and forms, in any quantity. Anti-reflective baguette glass can to order and buy v baguette workshop. Price on the glass.
Ordering stretchers in a framing workshop
Framing Workshop manufactures subframes for paintings. Durable wood is used to make the subframe. Stretcher large sizes. Stretcher protects the paint layer paintings from breaks. Manufacturing subframes to order. A well-made stretcher eliminates the "sagging" of the canvas and thereby prolongs the life picture. Masters stretch canvases, embroideries and batik onto stretchers. Wooden stretcher A3. Prices on the subframes.
Hanging pictures
Framing Workshop (Moscow) offers a new method picture pendants via suspension system Nielsen. Barbell from aluminum profile Nielsen attached to the wall with plastic washers. Perlon line is fixed inside the rod profile with sliding hooks or bushings and can be moved along the rod. Durable nylon line 2 mm thick is almost invisible against the background of the wall. Paintings hung up on the fishing line using special hooks with screws that can be fixed at the desired height. Reliable fixation at the required height requires some effort when screwing the screw. Aluminum profile easy to mount under the ceiling and allows you to easily and hassle-free outweigh the pictures.
Baguette picture frames
Ordering picture frames in a framing workshop
Framing Workshop (Moscow) draws up v baguette paintings, watercolor, drawings, photographs, posters, mirrors, etc. Gold baguette for pictures. Large picture frames. Artists place great value on choice framing for their paintings. Many great artists sketched baguette elements and even made them themselves. golden frames for paintings. Ordering picture frames v baguette workshop. picture frames can buy, pre having ordered in our baguette workshop. Prices on the picture frames.
Frames for watercolor paintings
In the technique of watercolor painting, you can create paintings in the genre of landscape, still life, portrait. Transparency and softness of the thinnest paint layer paintings are characteristic properties of watercolor painting. For framing watercolors it is advisable to use a passe-partout and a not very wide baguette. framing v wooden baguette. frames for watercolor paintings.
Picture frames
Fine picture frames
Drawings are created by artists in the process of studying nature (sketches, studies), while searching for compositional decisions graphic, pictorial and sculptural works (sketches, cardboards), when marking picturesque paintings ( preparatory drawing for painting). Professional baguette registration graphics, photographs, documents using wooden baguette and mat. Framework collected from baguette made from tropical woods. We have in workshop you can choose one of the options artistic design for graphics and order mat and baguette for frame. Graphic works should be placed in deep mat so that there is air space between the glass and the surface of the original when edging. Classic graphics look better in a double passe-partout in light shades. A double passe-partout composed of close shades of ivory creates an effect deep "facet"- the inner edge of the window in the passe-partout. The artistic value of the baguette depends on the profile and relief pattern. Depending on the width baguette called narrow(up to 4 cm) and wide, and depending on the thickness - low and high. If required lungs durable framework, it is better to collect them from aluminum baguette. Drawings pencil look better in modest narrow framework(aluminum or wood). colored frames for children's drawings. Plastic frames A3 for drawings.
Plastic photo frames
Baguette photo frames wholesale and retail
Traditionally the most interesting and commemorative photos
insert v framework that can be put on the table or hang on the wall. Important right pick up a frame, it must match photos and harmonize with the interior of the room. Checkout photos possible in baguette workshop(v center Moscow). The type of baguette depends on the type of images in the photo (portrait, landscape, children's photos). At photo framing passe-partout can be used. A slip can be offered to the passe-partout (edging along the edge of the window).
Large photo frames.
Aluminum frame a3
Golden photo frames.
Plastic photo frames.
Photo frames wholesale a4 and a3 from plastic, aluminum and tree. There are suggestions for wholesale frame making for photos (photo frames). Can make as one frame, and big wholesale order.
Order frames for diplomas in a framing workshop
Baguette paperwork
Professional baguette registration documents. Frame order for diplomas v baguette workshop Big choice framework for documents.
Plastic frames A3 and A4 Plastic frames A4 for certificates, diplomas, diplomas. Finished frames standard sizes for certificates, diplomas, posters, photos. golden frames for diplomas. Golden frames a3. A3 poster frames. For diplomas, certificates and cards in baguette workshop You can order lamination.
Frames for wall cards
plastic frames for kart. aluminum frames for wall maps. V workshop often are issued cards large sizes. In cases where increased strength is required, aluminum baguette- the best choice. V frames from aluminum baguette can put wall maps, posters, posters. Antique geographical maps are the best decoration for an office. A3 frames for cards.
Golden frames for embroidery icons
golden frames for embroidery icons. plastic frames for embroidery. If you embroider paintings, then sooner or later you will have to pick up for her frame. Choosing frame for design embroidery, it should be remembered that style, color, width and other features baguette for frame directly depend on the plot, style decision, colors and size embroidered pictures. To each embroidered picture choose your own unique framing. Choice frames for embroidered pictures also depends on whether it will be used embroidery designs mat or not.
Majority embroidered pictures looks more effective if a passe-partout is used in the design. Passe-partout is made single, double, sometimes triple. The selection of a triple passe-partout is a complex process even for a specialist (designer). The embroidery is stretched so that the cells of the canvas run parallel to the cut of the passe-partout cardboard. Increasingly widespread are paintings, beaded. wooden frames With mat. A3 frames for embroidery.
Tapestry picture frames
A tapestry is a hand-woven carpet picture. Tapestries were woven according to the drawings with colored woolen and silk threads. Baguette for paintings from tapestry choose, starting from the plot depicted on the tapestry. golden frames for tapestries. For design tapestries most often a wooden baguette of brown shades is used, sometimes - under gold, less often - under silver. A3 frames for tapestries.
Frames for medals
Baguette decoration of orders and medals
Baguette decoration collectible items. Professional registration orders, medals, badges. At design v baguette orders and medals of great importance is the correct placement of orders and medals. Orders are placed in the form compositions with a certain hierarchy, taking into account their appearance and significance. The background is green velvet (cloth) for military awards and blue for sports. Baguette frames a3 for orders and medals.