A certificate from the educational institution with the obligatory indication of the faculty is presented. girl with peaches

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 into a 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 obviously spent all her free time 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 of Fine Arts.

Savva Momontov, the head of the family, was called the Russian Medici. For his patronage of talented people. He did not care about the financial situation of the guest. People in this house were valued for their talent and human qualities.

The painting by the artist Valentin Serov “Girl with Peaches” is familiar even to those people who are very far from art. Those people who are passionate about the artist's work are aware that the picture was painted from 11-year-old Vera Mamontova, the daughter of a famous industrialist and philanthropist, who was a great friend of Valentin Alexandrovich.

The artist himself, due to innate modesty, did not have such a high opinion of his own creation., and even in a friendly conversation with I. E. Grabar, he reproached him for giving the portrait an overestimation in one of his written works on the development of Russian fine art.

The meaning of the painting "Girl with peaches"

Serov often complained that while painting the portrait of the young Vera, he made her sit still for hours, thereby losing a certain stream of freshness that he so insistently wanted to breathe into his picture. The process of painting the canvas dragged on for several months, during which the master had to pretty much torture the daughter of a wealthy patron. However, the result, as it turned out, exceeded all the expectations of the artist himself.

At the table, which is depicted in the picture, a noisy company often gathered, consisting of family members and numerous guests. He was in the dining room of the Mamontovs in an enfilade-type room.

"Girl with Peaches" Serov wrote when he was not yet 22 years old, and a quarter of a century later, after the death of the brilliant artist, Grabar published a monographic work about him, stating that the master himself did not fully realize the great significance of his work, not only for his contemporaries, but also for all subsequent generations. According to Grabar, this study managed to become one of the most significant works of art, which marked a whole layer of the great culture of Russia.

Already a couple of years after the tragic death of the artist, it was difficult to find such an original model as the teenage girl Vera Mamontova, who has inexpressible, wonderful and truly Russian features. One glance at the famous painting by Serov for people who are more or less versed in art will be quite enough to determine for sure that the action described in the picture takes place on the estate of a wealthy landowner. What is happening outside the window is hidden from the eyes of the observer, however, you can intuitively guess that behind it there are neat paths sprinkled with sand, beautiful park alleys and other elements inherent in an old Russian estate.

Peaches were not bought, but grown in the winter garden of the estate owned by the Mamontovs. The fruit trees were purchased from Zhilkino and Artyomovo estates, and looked after by the same specialist from whom they bought the peach trees.

History preceding the appearance of the picture

This canvas appeared as a result of friendly relations between Valentin Alexandrovich and the Mamontovs. Antosha, as people from the inner circle called Serov, had a penchant for a painstaking and unhurried manner of work, therefore young Vera had to sit motionless at the table for a long time. The master himself, knowing about the peculiarities of the protracted process of creating his own canvases, apologized to the model as much as he could and made every effort to quickly complete his outstanding work.

The idea to paint a portrait of the young Vera Mamontova came to Serov when she ran into the house, out of breath from cheerful street games and grabbed a peach. Valentin Alexandrovich was so impressed by her cheerfulness, openness and positive appearance that he invited 11 girls to become his model.

“Girl with Peaches” is one of the first serious works of the artist, which became his “lucky ticket” to a further successful creative career that Serov developed, who later became the best portrait painter of his time. Verusha (or Mamontova Vera Savvishna) was the favorite of all the inhabitants of the house, and there was an “invisible father’s light” in her, which the young Serov tried to convey as clearly as possible. Vasnetsov, who was an honorary member of the Abramtsevo circle, believed that Valentin Alexandrovich managed to find the very type of charming Russian beauty that many other authors could not find.

Description of the picture

The painting depicts a young girl with swarthy skin in a light jacket, decorated with an elegant bow. The artist tried to capture the moment, therefore, when looking at the canvas, it is hard to believe that Verusha sat in a similar position for many days. It seems as if she literally sat down for a second at a large table, mechanically grabbed a peach lying on it, and the next moment she, like a butterfly, will fly away to frolic in a lush garden lying just outside the window.

Many objects depicted in the picture have a special symbolism. For example, the plate is drawn as a tribute to those passions that Savva Mamontov, who was fond of applied arts and pottery, was engulfed in. Maple leaves, in turn, are depicted because the artist began work on the canvas in the height of summer, and finished only in September. In addition, maple autumn leaves create a special contrast in comparison with ripe peaches, reminiscent of the transience of all things and the need to enjoy the sun, as well as everything that happens around.

The girl is the owner of delicate skin with dark expressive eyes and the same dark hair. Sitting at the table with a barely perceptible smile on her face, she looks at the observer with a simple open look. In her hands is a peach, next to her on the surface of the table there are also maple leaves, a knife and peaches. The room in which the action takes place is filled with sunbeams, gently lying on pieces of antique furniture, on Verusha's hands and on the table.

The canvas is simply striking in how harmoniously the artist managed to reveal the image, filling it with an excellent degree of vitality, realism and freshness of color. In working on this picture, the young Serov used some of the techniques he borrowed from the Impressionists, such as, for example, the free vibration of a brushstroke.

The view from the window shown in the picture opens onto a terrace adjacent to the Red Living Room. In this room, which is partially visible on the canvas, various friends and acquaintances of the family of the patron Mamontov constantly gathered, staged amateur theatrical performances, read Turgenev, Gogol, Pushkin in the roles, played music and held lively debates.

With great professionalism, the master managed to display the play of light and shadow, however, the most significant is that he managed, through one work, to tell the viewer a whole story about the feelings and character of a pure and bright girl, whose further fate, however, was very tragic. However, at the time of writing the portrait, no one thought about future events, and the portrait remained in the memory of contemporaries as a real ode to youthful spontaneity, charm, spring and everything that never ceases to delight and delight people in everyday life.

The fate of "Girls with Peaches"

In 1903, Vera Mamontova became the wife of Alexander Samarin, who was the Minister for Church Affairs and part-time leader of the Moscow nobles. The wedding ceremony took place at the place where the exit from the Arbatskaya metro station of the capital is now located. During the revolution of 1917, the church was destroyed by the communists, but today a small chapel rises on the same pedestal. Having become the mother of three children, she died at the age of 32 from severe pneumonia.

Alexander Samarin, after the death of Vera, did not remarry and built a temple of the Life-Giving Trinity not far from their estate, which was plundered during the proletarian coup and used as a warehouse.

Later, Alexander, along with his daughter Lisa, was sent into exile and died in the Gulag in 1932.

Fact

This work has become the most famous for all of Serov's creative activity, and the master is considered one of the best portrait painters of his era. To date, the picture can be seen by visiting the State Tretyakov Gallery.

She died very early - at thirty-two years old, and everyone who is at least a little familiar with Russian painting will forever remember her as a twelve-year-old. Such as it was written by Valentin Serov in "The Girl with Peaches". But, besides Serov, Viktor Vasnetsov, Nikolai Kuznetsov, Mikhail Vrubel wrote to Vera Mamontov.

She was the beloved and long-awaited daughter of the railway magnate, the most famous industrialist and entrepreneur Savva Ivanovich Mamontov and his wife Elizaveta Grigorievna. Before Vera, they had already had three sons and, according to family legend, after the third birth, when it became clear that there would be a boy again, Elizaveta Grigorievna promised her husband: “But the next girl will certainly be born!” And so it happened. After three boys, two more daughters appeared in the Mamontov family - Vera and Alexandra.

And it was no coincidence that she was named Vera.

The Mamontovs chose the names of their children with intent: their first letters were to sequentially make up the name SAVVA: Sergey - Andrey - Vsevolod - Vera - Alexandra.

Elizaveta Mamontova was truly, without hypocrisy and hypocrisy, religious. Valentin Serov wrote to his fiancee Olga Trubnikova: “Here, at the Mamontovs, they pray and fast a lot, that is, Elizaveta Grigoryevna and the children with her. I do not understand this, I do not condemn, I have no right to condemn religiosity and Elizabeth Gr<игорьевну>because I respect her too much - I just do not understand all these rituals. I always stand like such a fool in the church (in Russian, especially, I can’t stand deacons, etc.), I feel ashamed. I don’t know how to pray, and it’s impossible when there is absolutely no idea about God.”

But for Elizaveta Grigoryevna, what caused the rejection of her favorite Antosha Serov was full of deep meaning. The name "Faith" for her was associated with the most important Christian virtue: faith was an integral part of her spiritual life.

Savva Mamontov with daughters Vera (pictured right) and Alexandra.

Elizaveta Grigoryevna Mamontova with her daughter Vera.

Vera Mamontov. Abramtsevo. 1890s

An atmosphere of creativity, joy, mutual sympathy and love reigned in the Mamontovs' house on Sadovo-Spasskaya, known throughout enlightened Moscow, and especially in their Abramtsevo estate near Moscow. Artists, sculptors, writers, musicians gathered there. Home performances, hide-and-seek and tag, playing towns - ordinary and special, "literary", Cossack robbers, in which the artist Repin participates along with children, and his own children's boat "fleet" on the Vorya River, led by the artist Polenov, horseback riding , fascinating creative activities - woodcarving, watercolor, ceramics ... So Serov's complaints about Verushi posing for him are easily explained. “Tormented her, poor thing, to death” - the girl was eager to run away to do something more interesting. And yet, for almost a month and a half, Vera obediently sat at the table in the Abramtsevo living room. Such was the price of a masterpiece.

About ten years before this landmark moment for Russian art, the aged Ivan Turgenev visited Abramtsevo. He visited the estate long before the Mamontovs bought it. Turgenev, like Gogol, was a welcome guest of the former owner, the writer Sergei Timofeevich Aksakov. Now the author of "A Hunter's Notes" examined the estate renovated by the efforts of the Mammoths and recalled with nostalgia how they used to hunt here, go for mushrooms, and fish. Turgenev funny told that Aksakov meticulously recorded in his diary: in 1817, 1858 shots were fired on a hunt, 863 game units were killed, and in 1819 - so much ... Once on a fishing trip, Turgenev incredibly upset Aksakov, who was proud of his book “Notes on fishing”, by the fact that while the fisherman-theorist and the owner of the estate caught only a brush and a roach, Turgenev was lucky to extract a pike one and a half arshin. Behind these cheerful conversations, the living classic met the younger Mamontova.

In the fictional presentation of Vladislav Bahrevsky, it looks like this:

“We came to the red living room, sat down.
Flushed, blowing off a strand of hair that was creeping into her face, Verusha, red-cheeked and shining in her eyes, ran in.
- Oh, what an angel! - exclaimed Ivan Sergeevich and held out his hands, inviting the girl to him.
The fearless Verusha, without hesitation, threw herself into the arms of a giant with a white head, settled on her knees.
- She's three and a half? Turgenev asked.
- There will be three in October.
So I'm not quite old yet. If a person has not forgotten how to understand how old children are, he is fit for life.
- Verusha is very playful. She looks older than her years, - Elizaveta Grigoryevna agreed ... "

There is no doubt that the charming Vera Mamontova was a universal favorite from birth. This is also evidenced by the memoirs and letters of numerous family friends. Once Savva Ivanovich sent a family photo to a close friend, sculptor Mark Antokolsky. Antokolsky's response letter - enthusiastically:

“Your photograph is so charming that you rejoice and laugh with you. May God bless you always and laugh. Abramtsevo goddess charm, charm! Kiss her, please, for me. In a word, I repeat about everything: “charm, charm!” And this is the absolute truth.”
"Abramtsevo goddess" and "charm", as you might guess, Mark Matveyevich calls Vera.

Vera Mamontova posing in an armchair for artist Nikolai Kuznetsov. Photo. 1880s

Vera Mamontova dressed as the biblical Joseph for a home performance. 1880s

Easter table in the Mammoth family. 1888 At the table - Vera with her older brothers.

Living picture "Russian dance". Vera with her cousin Ivan Mamontov. 1895 year.

Vera and Vsevolod Mamontov on horseback in Abramtsevo.

In memoirs about the Abramtsevo circle, one can often find the words "Yashkin's hut" or "Yashkin's house". Either Ilya Repin and his family will be settled in this “hut on chicken legs” by the owners of Abramtsev for the summer, or the Vasnetsov brothers. The eldest, Victor, admitted that nowhere had he worked so calmly and well as here, and the youngest, Apollinaris, even entered Yashkin's hut into his landscape.

What is this name? The Abramtsevo Chronicle helps to find out - a journal where they recorded all the most important things: what they worked on, what they played, what they were doing and who came to visit. At the beginning of May 1877, Savva Mamontov made a note by hand: “A separate dacha called“ Yashkin dom ”was built. This name was given because little Verushka called this house her own, and since her nickname was “Yashka”, then the house was called Yashkin.

Mamontov's biographer Bakhrevsky explains the origin of the nickname: "Little Verusha has had a lot of yakal since childhood." Well, perhaps so - for everyone's favorite in that there would be nothing out of the ordinary. But in the Mamontovs, as in many families, this was a common thing, all children were given affectionate nicknames: Andrei was called Dryusha, Vsevolod - Voka, Vera - Yashka, the younger Alexandra - Shurenka-Murenko. It seems that for the Mamontovs, this was the very “everyday exchange of family jokes hidden from others that make up the secret cipher of happy families,” as Vladimir Nabokov would wonderfully formulate much later in Other Shores.

Yashkin house
Apollinary Mikhailovich Vasnetsov

When "The Girl with Peaches" was written, Verusha was 12, Serov - 22. As a ten-year-old boy, Serov first came to Abramtsevo, Vera had just been born at that time. He was the same age as her beloved brothers, from childhood he lived with the Mamontovs for a long time, participated in many Abramtsevo "creative outrages." He was completely his own in the mammoth family.

Vsevolod, the elder brother of Vera, recalled Valentin Serov: “He was touchingly friends with my sisters, who were much younger than him, and at the same time he endured all sorts of pranks surprisingly good-naturedly ... On the basis of this friendship, the famous Serov’s“ Girl with Peaches ”was born. , one of the pearls of Russian portraiture. It was only thanks to his friendship that Serov managed to persuade my sister Vera to pose for him. On a fine summer day, a twelve-year-old cheerful, lively girl is so drawn to freedom, to run around, to play pranks. And then sit in the room at the table, and even move less. This work of Serov required many sessions, my sister had to pose for her for a long time. Yes, Anton himself admitted the slowness of his work, he was very tormented by this and subsequently told his sister that he was her indebted debtor.

Vsevolod and Vera Mamontov. Photos from the 1880s.

Valentin Serov (far left) in the office of the Moscow Mamontov House. At the piano - artist Ilya Ostroukhov. Standing: Savva Mamontov's nephews and his son Sergei. Photo from the 1880s

The artist of the older generation Viktor Vasnetsov treated Vera with special tenderness. He saw her in a completely different way than young Serov. Fascinated by Russian antiquity, Vasnetsov wrote to Vera Mamontova in the form of a hawthorn. Both this dushegreya embroidered with gold and the “brocaded kichka on the crown” were surprisingly black-eyed, serious, with thick sable eyebrows and the legendary blush inherited from her mother by Vera, the daughter of the hereditary merchant Savva Mamontov. And Vasnetsov took a comic promise from Vera that she would certainly marry a Russian. At the wedding of Vera's fiancé Alexander Samarin (who completely satisfied Vasnetsov's wishes, since he came from ancient pillar nobles), the artist presented another portrait of Vera - "Girl with a Maple Branch". She is depicted on it in the same simple and sweet pearl-colored dress in which she will marry Samarin. “It was the type of a real Russian girl in character, beauty of her face, charm,” Vasnetsov will say with admiration and bitterness about Vera after her sudden death.

Workshop in Abramtsevo. On the wall is a portrait of Vera Mamontova by Vasnetsov. Under the glass is her outfit. Photo source: anashina.com

Of course, Vasnetsov's portraits of Vera cannot be compared in popularity with Serov's Girl with Peaches. But Vasnetsov also has a completely textbook picture, inspired by the image of Vera Mamontova - “Alyonushka”. The direct model for her was another girl, a poor orphan from a village neighboring Abramtsev, but it was Vera who became the source of inspiration. Vasnetsov wrote:
“The critics and, finally, myself, since I have a sketch from one orphan girl from Akhtyrka, have established that my “Alyonushka” is a natural-genre piece!
Don't know!
May be.
But I will not hide the fact that I really looked into the features of the face, especially into the radiance of the eyes of Verusha Mamontova, when I wrote Alyonushka. Here are the wonderful Russian eyes that looked at me and the whole of God's world in Abramtsevo, and in Akhtyrka, and in Vyatka villages, and on Moscow streets and bazaars, and forever live in my soul and warm it!

Vera's family life was happy, although, alas, short-lived.
And the marriage union itself between Vera Savvishna Mamontova and Alexander Dmitrievich Samarin became possible far from immediately.

In the mid-1890s, Vera Mamontova was engaged in social work in schools and shelters, following in this her mother Elizaveta Grigoryevna, who did a lot to ensure that schools appeared in the neighboring villages of Abramtsevo, Akhtyrka and Khotkovo, an infirmary and craft workshops that helped to employ peasant children. after graduation. Having grown up among people of art, Vera attended lectures in Moscow on history and literature. There she met Sofya Samarina, the niece of the Slavophil Yuri Samarin and a representative of a noble family, related to the Volkonsky, Trubetskoy, Golitsyn, Yermolov, Obolensky, poet Zhukovsky.

Sofya and Vera became close friends, and Mamontova began to visit her friend in the house. There he met with Alexander, Sophia's brother. Charming Vera captivated her seven-year-old Alexander Dmitrievich immediately and forever. He asked his parents for blessings for marriage with Vera Savvishna, but each time he received a categorical refusal. The owners of an ancient noble family and vast land allotments did not even want to hear about intermarrying with the Mamontov merchants. It was for Russian artists that Verusha was inspiration and "charm" - and for the older Samarins, she remained the daughter of a dubious "millionaire". “To marry a merchant means to dilute the blue ancient blood of the nobles too thick, too red,” Bakhrevsky figuratively explains the resulting rejection. And then a period of serious trials began for the Mamontovs: he left the family, carried away by the soloist of his Private Opera Tatyana Lyubatovich, Savva Ivanovich, and in 1900 he was accused of embezzlement, arrested, and lost a significant part of his fortune. The scandals were public, covered in detail in the press. The Samarins pushed Vera Mamontova away, they did not want to hear about her.

So, in a state of complete and painful uncertainty, several years passed. The feelings of Vera and Alexander Dmitrievich did not die and did not weaken. And in 1901, Samarin decided to try again to get permission from his seventy-year-old father to marry Vera. The father refused this time. Apparently, the conversation was so difficult that after it the elder Samarin was smashed by a blow, and soon he was gone. More than a year passed after his death, when his mother Samarina Varvara Petrovna finally gave in and blessed her son for marriage.

January 26, 1903 Vera Mamontova and Alexander Samarin went down the aisle. One after another, three children were born in their family: Yura, Liza and Seryozha. But a marriage built on deep mutual respect and love that survived many years of trials lasted less than five years. He was cut short by the sudden death of Vera on December 27, 1907. A young woman burned out in three days from transient pneumonia.

Alexander Samarin outlived his beloved by exactly a quarter of a century and was never married again. He remained in Russian history as an independent value, not just "the husband of a girl with peaches." Since 1908, Samarin was the Moscow provincial marshal of the nobility, since 1915 - chief prosecutor of the Holy Synod and a member of the State Council. After his resignation from the post of chief prosecutor, he was the chief representative of the Russian Red Cross, chairman of the Moscow Diocesan Congress. Alexander Samarin was repeatedly promoted to those positions in the hierarchy of the Russian Church, which before him could not be occupied by the laity - only clergy; the rarest case. In 1919 he was arrested by the Soviets and sentenced to death, but the sentence was later overturned. In 1925, he was again arrested and exiled to Yakutia for three years. In 1931, he was arrested again. According to the memoirs of those serving exile with her husband Vera Savvishna, even there he remained true to his monarchical and religious convictions, worked hard - taught German to doctors, studied a book on Yakut grammar.

The upbringing of Vera's orphaned children was taken over by her younger sister Alexandra.

Alexander Dmitrievich and Vera Savvishna Samarina.

Vera Savvishna Samarina with her son Yuri. 1904

Memorial service for Vera Savvishna, served in the Abramtsevo Church of the Savior Not Made by Hands. 1908

Savva Mamontov (center) with grandchildren Seryozha, Liza and Yura (Vera's children). 1910. Far left - Alexandra Mamontova, Vera's younger sister, who devoted herself to raising her little nephews.

Alexander Samarin with his daughter Elizabeth.

Lisa and Yura Samarina (Vera's children) and Natasha Polenova (the artist's daughter).

Daughter and husband of Vera Samarina (Mamontova) in Yakut exile. Late 1920s.

It must have been after the fact, after the death of the "Abramtsevo goddess", someone remembered the bad omen. Indeed, long before her physical death, Vera was already “dying” in Mikhail Vrubel’s drawing “Tamara in the Coffin”, made in expressive and ominous black watercolor.

The children of Savva Mamontov, with whom Vrubel was friends, often served as his models. He was friends with Andrei Mamontov, who died early, also an artist and aspiring architect. From another Vera brother, Vsevolod, the artist borrowed many features for the Demon and Lermontov's Kazbich, from Vera herself he painted Tamara.

And Vera, teasingly, called her friend Vrubel "Monelli". In the Roman dialect, it means "baby, sparrow" (Wróbel in Polish - sparrow). Some found such a reversal of the surname very offensive. But it is known that Vrubel, who was very capricious, did not have an accommodating character and was categorically sharp in his judgments, wrote only those for whom he felt sympathy.

Perhaps the best of all is Vrubel’s attitude to Vera and the Abramtsevo atmosphere itself - the atmosphere of “warmth of a unifying secret”, a happy creative conspiracy, without which neither Alyonushka, nor The Girl with Peaches, nor Vrubel’s masterpieces would have arisen - conveys the story recorded by his son Professor Adrian Prakhov Nikolai. Once, while visiting Abramtsevo, Vrubel was late for evening tea. He unexpectedly appeared in the dining room “at the moment when Verushka said something in a whisper to my sister who was sitting next to her ... Mikhail Alexandrovich exclaimed: “Speak everything in a whisper! Speak in a whisper! - I just thought of one thing. It will be called - "The Secret". We all began to fool around, whisper something to a neighbor or neighbor. Even the always quiet and calm “Aunt Liza” (Vera’s mother Elizaveta Grigorievna) smiled, looking at us, and she herself asked Vrubel in a whisper: “Do you want another cup of tea?”
A day later, Mikhail Alexandrovich brought to evening tea a female head entwined with the sacred Egyptian snake Urea.
- Here is my "Secret", - said Vrubel.
- No, - they objected to him, - this is the "Egyptian" ...

M.A. Vrubel. Egyptian

M.A. Vrubel "Tamara in the coffin".

Original article:

Valentin Serov. Girl with peaches.
1887. Oil on canvas. 91×85 cm
State Tretyakov Gallery, Moscow, Russia. Wikimedia Commons

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Sometimes it's better not to know the life history of the prototype characters of famous works. The girl with peaches in reality lived only 32 years (she died of pneumonia), her husband did not marry again, and three children remained. The future in the eyes of the heroine of the painting by Valentin Serov is not readable. She does not even show that she is the daughter of a wealthy industrialist.

1 girl. The mischievous character of Vera Mamontova is read both in her sly look and in the fold of her lips - and look she will laugh. Disheveled hair, a blush all over her face, a flaming earlobe indicate that she has just been running around the yard. And in a minute he will jump up and run further. Nevertheless, this was her first experience of prolonged posing. Art critic Eleanor Paston says: “It is believed that Vrubel gave her external features to “Snow Maiden”, “Egyptian”, Tamara in the illustrations for “Demon”. Vera Savvishna was eventually nicknamed the "Abramtsevo goddess". Her portraits were also painted by Vasnetsov (“Girl with a Maple Branch”, “Boyaryshnya”).

2 blouses. Vera is wearing casual clothes, albeit decorated with a bright bow. The loose blouse feels a bit baggy and too childish for an 11 year old girl. The fact that she does not change clothes specifically for posing emphasizes the spontaneity of the situation and the simplicity of the relationship. The pink blouse becomes the brightest and most festive accent of the picture, and it seems that the light comes not only from the window, but also from the heroine.

3 room. The scene is the dining room of the Mamontovs in the Abramtsevo estate, one of the enfilade rooms.

4 table. There were always a lot of people at the large extendable table - family members and friends. Eleanor Paston says that Serov often worked here.

5 peaches grown in the Mammoth greenhouse. The family bought trees for her in the estates of Artemovo and Zhilkino in 1871. The peaches were grown by the Artyomovsky gardener, whom the Mamontovs invited to their place after he sold them the trees.

6 maple leaves. Serov finished work on the portrait in September. The yellowing foliage outside the window and on the table is evidence of the girl's long patience. In addition, autumn maple leaves next to summer peaches seem to remind you that life is fleeting, and you should rejoice while you are young and the sun is shining.

7 grenadier. The toy wooden soldier in the left corner is a product of Sergiev Posad handicraftsmen. According to Elena Mitrofanova, Deputy Director for Science at the Abramtsevo Museum-Reserve, the Mamontovs bought the toy at the Trinity-Sergius Lavra in 1884. The figurine was unpainted, Serov painted it. In the Abramtsevo Museum there is even a sketch of the painting made by the artist. The grenadier is still on the bedside table in the same corner.

8 red living room. The next room, part of which is visible on the left, is the so-called Red Drawing Room, where writers and artists, friends of the Mamontovs, gathered. There they read the works of Pushkin, Gogol, Turgenev by roles, played music, discussed.

9 chairs. Solid mahogany chairs went to the Mamontovs from the Aksakovs along with the tradition of artistic gatherings. Those two that stand by the window - with backs in the form of a lyre - were very fashionable at the beginning of the 19th century, and at the end of it they had already turned into antiques. A jacob chair is visible in the Red Drawing Room. Similar furniture of strict straight outlines, with gilded brass inserts, appeared in Russia under Catherine II. In Abramtsevo, both the lyre chairs and the jacob, which still stands in the Red Drawing Room, have been preserved.

10 dining room windows, as well as the terrace adjacent to the Red Living Room, overlooks the Abramtsevsky Park, on the alley named Gogolevskaya in honor of the writer who loved to walk here. It can be seen that the window frames are far from new, the paint on them has peeled off in some places. This adds to the picture of naturalness and a sense of that comfort that can only be experienced in "native walls".

11 plate. Savva Mamontov was fond of applied art. In 1889, he even opened a pottery workshop at the estate, in which ceramics were created using the majolica technique. In particular, Vrubel was engaged in this. The fate of the plate depicted by Serov two years before the opening of the workshop is unknown, but it is so harmoniously inscribed in the interior that later another majolica plate appeared on the same wall, already from the Mamontovs' workshop. It still hangs in the dining room at this place.

On an August day in 1887, 11-year-old Vera Mamontova, distracted from street games, ran into the house and sat down at the table, grabbing a peach. Her cheerful appearance impressed Valentin Serov so much that he invited the girl to pose. The artist knew the model from infancy. He often visited and even lived for a long time at the Abramtsevo estate of the Mamontovs, which they bought from the daughter of the writer Sergei Aksakov in 1870. Even under the Aksakovs, the estate was the center of Russian cultural life. Under the Mammoth tradition continued. Turgenev, Repin, Vrubel, Antokolsky stayed here... Abramtsevo was both a “house of creativity” and a place where friends gathered in an atmosphere of home comfort.

For the first time Serov was brought to Abramtsevo by his mother-composer in 1875. He grew up with the older children of the Mamontovs, constantly enduring their pranks. The younger Vera also made fun of the young Serov. Everything changed in 1887 when the 22-year-old artist returned from Italy inspired by sunny landscapes and Renaissance masterpieces. Then Serov, according to his memoirs, had a dope in his head and a desire to "write only gratifying." Until recently, the artist was an unwitting participant in Vera's games, and now she, who until now no one could force to sit still, posed for him for hours every day for almost two months. On the part of the girl, it was a tribute to a kindred close relationship. And the painting was "a kind of Serov's gratitude to the warmth and comfort of the Mamontovs' house, which became a second family for the artist," says Eleonora Paston, doctor of art history, senior researcher at the Tretyakov Gallery.

“There are creations of the human spirit, the intentions of their creators that outgrow many times over ... These ... must include that amazing Serov's portrait. From the etude “girl in pink”... it has grown into one of the most remarkable works of Russian painting,” wrote the artist Igor Grabar about the painting.

Valentin Serov presented the painting to Vera's mother, Elizaveta Mamontova, and for a long time the portrait was in Abramtsevo, in the same room where it was painted. Now a copy hangs there, and the original is exhibited in the Tretyakov Gallery.

Model

Depicted in the picture, Vera Savvishna Mamontova (October 20, 1875 - December 27, 1907) is the daughter of Savva Ivanovich Mamontov and his wife Elizaveta Grigoryevna.

In 1896 (when Vera was 21 years old), Viktor Mikhailovich Vasnetsov painted another portrait of her - “Girl with a Maple Branch”. In addition, Serov painted several more portraits of Praskovya Mamontova, Vera Mamontova's cousin.

Vasnetsov V. M. Girl with a maple branch (Portrait of Vera Savvishna Mamontova)
1896 Wikimedia Commons

In November 1903, in Moscow, she married A. D. Samarin. After their honeymoon trip to Italy, the young people settled in their house in the city of Bogorodsk. Three children were born in the marriage:

* son Yuri (1904-1965) - a philologist, was suspected of collaborating with the OGPU during the repressions. This fact is largely confirmed in Alexei Artsybushev's autobiographical book "Mercy of the Door";

* daughter Elizabeth, married Chernysheva (1905-1985) - author of memoirs;

* son Sergei (1907-1913).

Five years after the wedding, at the end of December 1907, at the age of 32, she fell ill with pneumonia and died three days later. She was buried in Abramtsevo near the Church of the Savior Not Made by Hands.

Artist
Valentin Alexandrovich Serov

Self-portrait. 1901
Wikimedia Commons

1865 - Born in St. Petersburg.
1874 - Began taking painting lessons from Repin in Paris.
1880 - Entered the Academy of Arts.
1887 - Traveled to Vienna and Italy. Wrote "Girl with Peaches".
1894 - Became a member of the Association of the Wanderers.
1900 - Joined the association "World of Art".
1903 - Elected a full member of the Academy of Arts.
1905 - Resigned from the Academy in protest against the execution of the demonstration on January 9, accusing the president of the Academy (and at the same time the commander of the troops of the St. Petersburg Military District) of organizing it.
1908 - Elected a full member of the Vienna Secession.
1911 - Died in Moscow of a heart attack.

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 an 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 the dawn of the artist's creative life, revealed the enormous scale of his talent and immediately determined his place and significance in the history of Russian pictorial art.

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 Russian art owes so much, Verusha brought her own distinct touch to this life “with a father’s light”, which increased the general high artistic mood of the wonderful community that lived and worked in the old Aksakov house on the high bank of the river Vori.

“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 bursting 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 over Verusha's face, creating an exquisite play of lilac and blue tones on a pink blouse, shimmering with mother-of-pearl reflections, gliding 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, "preserving the freshness of painting" for him at the same time meant preserving the freshness of that joyful feeling with which this canvas was painted, conveying all the charm of a fleeting impression, but at the same time "stopping the moment" in such a way as 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 dark-skinned, black-haired girl in a pink blouse with a black bow with a white pea is sitting at the table. IN 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 the girl's face, the poetry of the life image, the 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"

The interests of the painter of the first half of the 19th century 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" draws attention to the inconsistency of a complex, well-developed painting technique with an inept drawing, a helpless composition, which, apparently, was the result of the inconsistency of the artist's education, who did not have time to thoroughly learn 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. From an early age 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 at 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.

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There are many design options 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. By using 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 mirrors.

Ordering glass in a framing workshop

Ordering glass in a framing workshop. glass terminal frames without baguette. Glass photo frames. IN 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 order And buy V baguette workshop. Price on glass.

Ordering stretchers in a framing workshop

Framing Workshop manufactures subframes For paintings. Durable wood is used to make the subframe. Subframes 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 subframes.

Hanging pictures

Framing Workshop (Moscow) offers a new method picture pendants by using 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 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 decor graphics, photographs, documents using wooden baguette And passe-partout. 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 passe-partout And baguette for frame. Graphic works should be placed in deep passe-partout 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 decor 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. IN workshop often are issued cards large sizes. In cases where increased strength is required, aluminum baguette- the best choice. IN 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, color scheme 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 passe-partout 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 passe-partout. 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 decor 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.