"Girl with Peaches" and "Scream". The history of paintings that became Internet memes

Tropinin Vasily Alexandrovich belongs to the magnificent galaxy of Russian artists of the first half of the 19th century. All his work is imbued with the Russian national spirit: his numerous portraits of his contemporaries, and typical everyday scenes and examples of Russian life are permeated with a sense of nationality.

And this despite the fact that Tropinin V.A. had a huge impact French artist Jean Baptiste Greuze, with whom he shared a sentimentalist-enlightenment worldview. Vasily Alexandrovich borrowed the plots of many of his works from his idol. Among them is the painting “Girl with an Apple,” the only surviving work from the academic period (1800s), written under the influence of the painting of the same name by J. Greuze.

Serov "Girl with Peaches"

Tropinin's painting is a peculiar Russian interpretation of the popular image of French sentimentalism - the head of Greuze “Girl with an Apple”. Externally, the paintings are very similar - Tropinin is repeated in the plot, composition, even in the rotation of the girl’s head and body.

Buying apples from a peddler. At the same time, Tropinin’s picture is deeply original - it is full of life, in contrast to the image of the Dreaming girl, deprived individual traits, which is an abstract embodiment of pretty sentimentality and sensuality. In Tropinin we see a portrait of a living girl, most likely a serf.

Tropinin "Girl with an Apple"

Kharlamov “Girl with an Apple”

The graceful, sensual head of a girl thrown back in ecstasy from the portrait of J. Grez, Tropinin V.A. replaces it with a sad face with a thoughtful gaze directed somewhere into the distance, which betrays the unchildish fate of this girl. Mental softness, a characteristic property of Tropinin’s art, is achieved in the painting, among other things, by the coloristic solution: the golden-olive tone of the painting, turning into yellow in the light, greenish in the shadows, and becoming dark in the background. The pink-white color of the apple in the girl’s hand, which is the color accent of the picture, especially stands out against this background.

Paul Kelly "Nude Girl Bathing"

Art critics note that this work is not perfect, there are mistakes in it color scheme, there are violations of proportions, in the depiction of the shape of an apple, as if not alive, carved as if from wood, etc. However, already in this student’s picture the characteristic features of Tropinin’s future style of writing are already clearly manifested.

Tropinin "Girl with an Apple"

On the apple theme Tropinin V.A. returns to the 1830s, when he writes the work “Buying apples from a peddler. Etude. 1830s." (see below). The sketch was not executed as carefully as the author’s other works, but it conveys life itself: it comes through in the girl’s movements, in the careful curiosity with which she selects apples.

In the next period of creativity (1840-1850s) Tropinin V.A. from a sentimental and enthusiastic reflection of life in his early canvases, he moves on to a realistic display of the hard life of common people. However female figures still remain attractive, charming and poetic. During this period, such canvases with female themes were created as “Guitar Players” (1839), “Women in the Window (Treasurers)” (1841), images of girls - “Girl with an Apple”, “Girl with a Pot of Roses”, “Girl with a Candle and coffee pot" (all 1850s). In the painting “Girl with an Apple” an allegorical image of the feminine - tempting principle - is given in the form of an apple.

Outfit " Swan Lake» by Georges Hobeika

An exhibition of Arkhip Kuindzhi opens at the Tretyakov Gallery in Moscow...

Recently, memes based on images of classical paintings have become increasingly popular. Even the President of Russia demonstrated his knowledge of Internet folklore during his visit to an exhibition of paintings at the Tretyakov Gallery artist Valentin Serov. AiF.ru recalls the history of creation original works, which today increasingly appear in an unusual form.

Valentin Serov "Girl with Peaches"

One of the most famous female portraits in Russian painting appeared thanks to a happy coincidence. Valentin Serov visited the estate Savva Mamontov, when his daughter, twelve years old, ran into the house, inflamed by a street game Vera Mamontova, and picked up a peach. The young artist invited the girl to pose, and almost two months later “Girl with Peaches” appeared, embodying the author’s idea. Nine years later, Serov painted another portrait of Vera Mamontova, calling it “Girl with a Maple Branch.” Vera’s features appeared more than once in his works, but the fate of the “girl with peaches” herself was extremely tragic: at the age of 32 she fell ill with pneumonia and died.

His most famous painting is “Girl with Peaches” by artist Valentin Serov. copied by artists all over the world pic.twitter.com/nqiRTVVuxN

Edvard Munch "The Scream"

Animated painting The Scream, Edvard Munch - (Edward Munch). pic.twitter.com/rFzs0aUNrM

Viktor Vasnetsov “Bogatyrs”

Today Vasnetsov’s painting “Bogatyrs” is considered real folk masterpiece and symbol Russian art, but not everyone knows that before the painting by the Russian artist, the images of the three heroes had never been united in people’s minds - in folklore the heroes of epics rarely intersected. Vasnetsov decided to embody on canvas the main features of the Russian character - Ilya Muromets personifies devotion to traditions, Dobrynya Nikitich - the readiness to stand up for the defense of the homeland with a sword, Alyosha Popovich - the love of beauty. The artist could not complete the painting for a long time: he began painting it in the early 1870s, and finished it only on April 23, 1898. It’s possible that I wouldn’t have completed it even then if it weren’t for Pavel Tretyakov, who stopped Vasnetsov, saying that he was ready to purchase the canvas.

Leonardo da Vinci "Mona Lisa"

Mona Lisa. Leonardo da Vinci

Mood: Mona Lisa..
I want to turn back time.
It’s cold outside, but everything in my soul has long been covered with frost. pic.twitter.com/scDE4gMUmd

— Santa_Sasanta (@MarysweetBerry) January 16, 2016

Grant Wood "American Gothic"

Painting by an American artist Grant Wood“American Gothic” is one of the most recognizable (and parodied) images in American art of the 20th century. The famous sketch was a figment of the artist’s imagination: in 1930, in the town of Eldon, Iowa, Wood noticed a small white house in the Carpenter Gothic style and wanted to capture people next to it who, in his opinion, could live there. Wood entered American Gothic into competition at the Art Institute of Chicago. Interestingly, the judges took it for a humorous valentine, and the residents of Iowa were terribly offended by the artist for portraying them in such an unpleasant light.

Grant Wood "American Gothic"

"American Gothic" pic.twitter.com/p9dJQslZMx

— ∀．Ｋｒｏｍｂｅｒｇｅｒ (@Sasha_gravSSky) August 15, 2014

Ilya Repin "Barge Haulers on the Volga"

Barge haulers on the Volga, Ilya Repin.

Salvador Dali "The Persistence of Memory"

“The Persistence of Memory” is one of the most famous paintings Salvador Dali, it is a kind of symbol of the transience and relativity of temporary space. Paradoxical as it may seem, the idea of ​​writing a canvas about time came to the famous Spanish artist, when he was thinking about processed cheese. Most often, Dali left notes about his works in his diaries, but not a word was found about the meaning and significance of “The Persistence of Memory”. This is probably why there are several theories about what exactly the author wanted to say with this picture. Nevertheless, his wife Gala quite correctly predicted that no one, once they saw The Persistence of Memory, would forget it.

Salvador Dali "The Persistence of Memory"

Salvador Dali. "The Persistence of Memory". The ginger cat “climbed” into the picture. pic.twitter.com/JqEUG9284L

— Artists and Poets (@Xudozhnikipoeti)

Among Russian painters of the first half of the 19th century, Vasily Aleksandrovich Tropinin (1776-1857) is especially dear to his compatriots for that sense of nationality recognizable in the heart that permeates all his works: excellent in artistically portraits of contemporaries, typical samples Russian life and everyday scenes. The great role of Tropinin in general process democratization of domestic art, in the development of the realistic method.

The artist's interests are closely connected with the name of Jean Baptiste Greuze. Tropinin copied this painter all his life, “quoted” and even openly borrowed his compositions individual works. Such are, for example, “Girl with an Apple” (the only surviving work by Tropinin from the academic period) and “A Boy Longing for His Dead Bird,” shown at an academic exhibition in 1804 and which brought the author his first recognition. Tropinin was given the name “Russian Greuze”, which not only defines 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 and quests in the field of genre, then he was brought closer to Greuze by the sentimentalist-enlightenment worldview inherent in both of them. Tropinin saw Greuze's works in originals - 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.

Let's start with the very origins of Tropinin's work. The student work of Vasily Andreevich is preserved in the collection of the Moscow collector Yu. V. Nevzorov. It is a Russian-interpreted copy of the popular image of French sentimentalism - the head of Dreams “Girl with an Apple”. As clear as the connection between Tropinin’s work and Grezov’s is, literally repeating the original in the plot, composition, in the rotation of the figure and accessories, their dissimilarity in the main is equally clear. The image of Dreams is abstract, devoid of individual features - it is a composed fusion of sensual ecstasy and youthful prettiness. The image of Tropinin is essentially a portrait. Tropinin, although he tried to follow the original he had chosen as closely as possible, he retained almost its exact size (34.7´27.5), tried to literally reproduce the pose and clothes of the Dreaming girl with an apple (apparently this was the reason for the unnaturalness and artificiality of the pose in the picture Tropinin), however, the author painted the head and face of the child from life. It was here that a diametrically opposed interpretation of the same image by two artists was revealed. Tropinin replaced the graceful sensual head of Dreams, thrown back in dark ecstasy, with a sad face, perhaps of a serf girl in the yard, painting it with all spontaneity 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, fate. The girl’s eyes, with flat and matte pupils, as if shrouded in haze, with blue whites and pinpoint highlights, do not look at the viewer, but are directed somewhere into the unknown distance. The child’s nostrils and lips are outlined more accurately and in detail. Strokes of red paint are placed at the top of the eyelid, at the nostrils, in the outlines of the fingers, as if the blood is shining through the skin. The light blush on the golden surface of the girl’s face echoes the deep pink color of the apple. The emotional perception of the individual confronted the artist with a necessity differently than in traditional art, relate to the issue of coloristic solution of the image. From now on, color becomes for him not only a sign of form and a decorative element of the image, it serves as an expression of the author’s feelings, his attitude towards nature. Its color, with a large admixture of white, is dull, opaque, it is also conventional, like the conventional shape of an apple, as if carved from wood. The overall golden-olive tone of the painting, almost yellow in the light, greenish in the shadows, thickening in the background to completely dark, is so “Tropinin” that the picture I first saw seemed familiar a long time ago. In his student work, Tropinin has not yet succeeded in achieving pictorial integrity along this path. The intense white-pink color of the apple, being the color accent of the image, is still conventional in a popular print and is not entirely connected with the melting golden-brown and olive tones of the background and the girl’s fluffy hair, with the transparent tenderness of the colors of her face. However, increased activity Pink colour enhances the emotional sound of the image. However, it's not just a matter of color. The very “mood” of the image is familiar – that spiritual softness that is characteristic of Tropinin’s art. And, despite the violation of proportions, errors in the drawing, already here, in this work, which was rightly recognized by the Leningrad art critic T. A. Perova-Chakova as the first among the famous paintings artist, many clearly appeared character traits Tropinin's future work. First of all, this is the variety of pictorial texture. Even in this still “clumsy” student’s work, one can see a very free, light manner of painting and thin multi-layer glazes that form a matte, almost porcelain surface of the face. The blue tone of the underpainting, slightly visible on the dark parts of the face, is clearly visible in the deep folds of clothing, painted just as freely, but with thickly diluted paint and a hard brush; the underpainting is clearly visible through the lightly laid strokes on the head, conveying a fluffy mop of ashen hair.

The painting draws attention to the discrepancy between the complex, well-developed painting technique and the inept drawing and helpless composition, which, apparently, was the result of the inconsistency of the artist’s education, who did not have time to thoroughly master the beginnings of the academic school, but trained his hand and eye in copying. “Girl with an Apple” reveals before us the very origins of Tropinin’s creativity, which grew on the soil of Russian sentimentalism.

Thus, Tropinin’s work from the very first steps proceeded within the framework national tradition, and the first student painting represented a characteristic example of Russian sentimentalist painting. At this stage, he appeared as a translator who translated the French master into a Russian spiritual way.

Serov Valentin Alexandrovich (1865-1911)

Once upon a time the humblest Valentin Alexandrovich Serov reproached in a friendly conversation I. E. Grabar for being the last one in his " Introduction to the history of Russian art"gave too high a rating to one of his early works - portrait Verushi Mamontova.

“I myself appreciate and, perhaps, even love him,” he told Grabar. “In general, I think that I have written only two tolerable ones in my life, this one and also “under the tree”... All I was striving for was freshness , that special freshness that you always feel in nature and don’t see in paintings. I painted for more than a month and exhausted her, poor thing, to death; I really wanted to preserve the freshness of the painting while being completely complete - that’s how it was with old masters. I thought about Repin, about Chistyakov, about the old people - the trip to Italy had a big impact then - but most of all I thought about this freshness. I never had to think about her so hard before...

"was created when he was not yet twenty-two years old Serov in 1887, and 25 years later, in 1913, two years after the artist’s death, Igor Grabar wrote in his monograph about Serov:

“There are creations of the human spirit that outgrow many times the intentions of their creators. It happened that modest school teacher, who for many years sat with his back bent in his closet over some manuscript that no one around him needed, 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 century. He himself did not realize the full significance and value of his work. This is how the most extraordinary discoveries were made, this is how many great works of poetry, music, sculpture, architecture and painting were created. This amazing creature should also be included among the same creatures. Serovsky portrait. From the sketch " 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 an entire period of Russian culture.

A quarter of a century has passed since it was written portrait, different times have come, and what was cannot be returned. There is no longer in the world this teenage girl, with such a wonderful, inexpressibly Russian face that even if it weren’t there below Serovskaya signatures, yet there would be no doubt for a minute that this was happening in Russia, in an old landowner’s house. We can probably say that this old furniture was not bought from an antique dealer, but it was hardly valued then: perhaps they at times thought about replacing the “clumsy and uncomfortable old junk” with a fresh and “elegant set”, but somehow there was no time to tinker - let it be worth it. You don’t see outside the village window, but you feel the park’s alleys, sandy paths and all that inexplicable charm that permeates every little detail of an old Russian estate.

In all of Russian literature, I don’t know anything that would affect me as strongly as a few lines from Tatyana’s rebuke to Onegin:

Now I'm glad to give it away
All this rags of a masquerade,
All this shine, 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 the humble cemetery.
Where is the cross and the shadow of the branches today?
Over my poor nanny.

In Russian painting I know only one thing that reminds me of Pushkin’s incomparable poems - Serovsky portrait V. S. Mamontova. The “shelf of books” is not visible here, but I am sure that it is there, it certainly is, either right there or in the next room, just as I probably know that somewhere at the end of the garden there is a “cross” and a “shadow” is quietly moving branches" over someone's dear grave."

The Abramtsevo estate near Moscow, which belonged to S. T. Aksakov, came into the possession of Savva Ivanovich Mamontov in 1870, a major industrialist, art lover and artistic figure who managed to attract many wonderful Russian painters to the Abramtsevo art circle. To the Mamontov family Serov He entered as a child, was like family, and was friends with Savva Ivanovich’s children. Mamontov’s son, Vsevolod Savvich, recalls:

“It was on the basis of this friendship that the famous Serovskaya"", one of pearls Russian portrait painting. Only thanks to my friendship, it was possible Serov to persuade my sister Vera to pose for him. A twelve-year-old, cheerful, lively girl on a fine summer day just wants to go free, run around, and play pranks. And then sit in the room at the table, and move even less. This job Serova required many sessions, my sister had to pose for her for a long time. Yes Anton (friendly nickname Serova. - V.L.) and he himself admitted the slowness of his work, was very tormented by this and subsequently told his sister that he was her unpaid debtor.”

Serov have worked above portrait « binge“, carried away by the knowledge that his business is going well, “it’s going like clockwork.”

» - one of the first major works V.A. Serova. This painting, created at the dawn creative life the artist, revealed the enormous scale of his talent and immediately determined his place and significance in the history of Russian pictorial art.

So on picture depicts a common favorite of the artists visiting Abramtsevo - Vera Savvishna Mamontova, Verusha, one of the most gifted Russian women, whose life was interrupted early by unexpected death.

Not only in Verusha's appearance, but also in the features of her impetuous character there was a lot of her father's - ardor, passion, passion for novelty. In the exciting ebullience of Abramtsevo’s artistic life, in the friendly and joyful creative atmosphere that reigned here, to which so much is owed Russian art, into this life “with her father’s sparkle” Verusha brought her own distinct note, which increased the overall high artistic mood of the wonderful community that lived and worked in the old Aksakov house on the high bank of the Vori River.

“This was the type of a real Russian girl in character, beauty of face, charm,” said Viktor Mikhailovich Vasnetsov, a most devoted member of the Abramtsevo community of artists, remembering Verusha.

Alive, tanned, with large dark radiant eyes, with a cap of rebellious thick hair, she looks intently 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 a table by the window, on a candlestick, on a silver 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, giving rise to an exquisite play of lilac and blue tones on a pink blouse, shimmering with mother-of-pearl reflexes, sliding with multi-colored highlights, playing with colored spots on the tablecloth.

Dark-skinned, with a blush showing through the tan face Verushi shaded in picture a general bluish, cold tone, color, which is softened by the warm tones of fruits and leaves and the sonorous tone of the red bow on the chest.

In everything portrait feels thoughtful compositional completeness, which distinguishes all subsequent portrait works Serova. The figure is inscribed in the environment, as in a natural living environment, which turns portrait V picture, and the skillfully written space, saturated with light and air - not only the dining room, but also the adjacent living room and the park outside the window - makes this picture especially attractive, exciting, lively.

Portrait Verushi Mamontova, which amazed all of Moscow at that time, is one of the beautiful creations Russian portrait skill not only in terms of the strength of the performance, but also in terms of the type of person depicted, which bears the features of national Russian beauty.

Academician M.V. Alpatov wrote about this portrait:

“Who doesn’t know in the Tretyakov Gallery” Girls with peaches", this cute dark naughty girl? She sat down at the table for only a minute, looking sideways at us with her brown eyes, in which a twinkle lurked. Her nostrils flare slightly, as if she can’t catch her breath from running so fast. Her lips are seriously compressed, but there is so much childish, carefree and happy slyness in them!.. This is how everyone knows her, this is how she has become everyone’s 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 Mamontova, transferred Serov with amazing, incomprehensible subtlety and nobility. Starting from this amazing debut, we can confidently talk about Serovsky contribution V global art.

And now bright sunlight floods the familiar dining room in the Abramtsevo estate museum. 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 when Serov and at Serova: on the stand there is a figure of a grenadier - a toy made by Sergiev artisans, painted Serov, above it is a majolica plate. The sun is shining through the window...

Painting “Girl with Peaches” was in Abramtsevo for a long time, in the same room where it was written. And then she was transferred to Tretyakov Gallery, a copy of this work is currently hanging in Abramtsevo.

The section was created based on materials from the book “ Wonderful paintings"Publishing house "Leningrad" 1962

Composition of the painting "Girl with Peaches"

Italian impressions largely determined creative well-being Serova, when at the end of the summer of the same 1887 in Abramtsevo he was working on the work with which his artistic fame began, painting", creating in her a radiant image of youth and beauty, which became a direct manifestation of his then excitedly poetic attitude towards the world. “All I sought,” he later said, “was freshness, that special freshness that you always feel in nature and not see in paintings. I painted for more than a month and exhausted her, poor thing, to death; I really wanted to preserve the freshness of the painting while being completely complete - that’s how it is with old masters"However, “to preserve the freshness of painting” for him at the same time meant to preserve the freshness of the 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 such a way as to achieve “completeness”, and therefore , working from life on portrait twelve year old Verushi, daughters S. Mamontova, he, remembering the lessons of Repin and Chistyakov, deliberately solved it as picture. Live, spontaneous teenage girl posed for a twenty-two year old to the artist in a light-filled room, sitting at a table covered with a white tablecloth, dressed in a pink jacket with a large blue bow with white polka dots and a huge red carnation pinned to her chest. The light pours from behind the window, behind which one can see the foliage of the trees, slightly touched by the autumn yellowness, and “flows” into the next room. Painting as if woven from light and air. In solving this problem coloring paintings plays the most active role: white tablecloth, light walls of the room, pink “spot” of the sweater in the center, and if you consider that Serova 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 the feeling of variability and fleetingness, then it may seem that his canvas is indeed - a large impressionistic sketch.

Composition of the painting dynamic no less colorful. Built diagonally (the line that marks the edge of the table), it appears “open” in all directions and fragmented, like an instant photograph. Another, invisible, diagonal is involved in the organization of the depicted space, 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 slightly above the point of their intersection, almost at the top of an 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 Serova remained primarily the image of his young heroine, although many of the most various items. 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 secure 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. It is only thanks to her poise and precision that our attention can focus on Verusha’s face, on which there is a palatal blush emerging through a deep, even tan. The lively look of her brown eyes, the slight, subtle movement of her lips, their corners are slightly raised, a smile is ready to illuminate the face of this half-child - half-girl at any moment. The delicate feminine hand of her left hand, calmly lying on a white tablecloth, is extremely beautiful. In contrast to it with a few energetic strokes Serov outlined right hand, conveying the impetuous 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, slightly withered maple leaves and ruddy fruits lying on the table, the shape and especially velvety surface of which seem to “echo” the gentle face of the sweetheart Serovskaya models.

V.B. Rosenwasser

Description of the artwork "Girl with peaches"

In the picture we see the corner of a large room, flooded with silvery daylight: a dark-skinned, black-haired girl in a pink blouse with a black bow with white polka dots is sitting at the table. IN in the girl's hands peach, same dark pink what's her name face. On a dazzling white tablecloth lie wilting maple leaves, peaches and a silver knife. It’s a bright summer day outside the window, tree branches stretch into the glass, and the sun, having made its way through their foliage, illuminates the quiet room, the girl, and the antique mahogany furniture. Everything in this picture is natural and relaxed, every detail is connected to one another, and together they create a complete work. The beauty of a girl's face, poetry lifestyle, light-saturated colorful painting - everything in this work seemed new. This work of the young artist amazed his contemporaries with the freshness of its light, radiant color, subtle rendering 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 Aleksandrovich Tropinin are closely connected with the name of Jean Baptiste Greuze. Tropinin copied this painter all his life, “quoted” and even openly borrowed the compositions of his individual works. Such are, for example, “Girl with an Apple” (the only surviving work by Tropinin from the academic period) and “A Boy Longing for His Dead Bird,” shown at an academic exhibition in 1804 and which brought the author his first recognition. Tropinin was given the name “Russian Greuze”, which not only defines 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 and quests in the field of genre, then he was brought closer to Greuze by the sentimentalist-enlightenment worldview inherent in both of them. Tropinin saw Greuze's works in originals - 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 painting is a Russian-interpreted copy of the popular image of French sentimentalism - the head of Dreams “Girl with an Apple”. As clear as the connection between Tropinin’s work and Grezov’s is, literally repeating the original in the plot, composition, in the rotation of the figure and accessories, their dissimilarity in the main is equally clear. The image of Dreams is abstract, devoid of individual features - it is a composed fusion of sensual ecstasy and youthful prettiness. The image of Tropinin is essentially a portrait. Tropinin, although he tried to follow the original he had chosen 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 Dreaming girl with an apple (apparently this was the reason for the unnaturalness and artificiality of the pose in the picture Tropinin), however, the author painted the head and face of the child from life.

It was here that a diametrically opposed interpretation of the same image by two artists was revealed. Tropinin replaced the graceful sensual head of Dreams, thrown back in dark ecstasy, with a sad face, perhaps of a serf girl in the yard, painting it with all spontaneity 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, fate. The girl’s eyes, with flat and matte pupils, as if shrouded in haze, with blue whites and pinpoint highlights, do not look at the viewer, but are directed somewhere into the unknown distance. The child’s nostrils and lips are outlined more accurately and in detail. Strokes of red paint are placed at the top of the eyelid, at the nostrils, in the outlines of the fingers, as if the blood is shining through the skin. The light blush on the golden surface of the girl’s face echoes the deep 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 and an inept drawing, a helpless composition, which, apparently, was the result of an inconsistency in 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 in copying. “Girl with an Apple” reveals before us the very origins of Tropinin’s creativity, which grew on the soil of Russian sentimentalism.

Children with fruits

American artist Morgan Weistling

Morgan Weistling modern 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 the first, most important books he read on art from the extensive family library while still sitting on his father’s lap.

One day, when Morgan was still a student and working in an art shop, he walked into the shop famous illustrator. Morgan showed him his student work and the next day he was hired by one of the main agencies designing Hollywood movie posters. “Then the only thing I wanted to do was be an illustrator. And in one day it happened!” - says Morgan. Over the next 14 years he illustrated for many Hollywood film studios. Morgan later began exhibiting at Trailside Galleries.

IN free time he drew for the soul, and, 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 show consisted of 26 paintings, and they all sold within five hours. IN next year, on his second personal 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 “Prix de West Award” of Non-Jean Halsey Bouyer for the film “Dance”.

In 1990, Morgan met his future wife in art school. He and Joanne had two daughters, Brittany and Sienna. 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 in the garden of Emperor Alexander Severus peach tree the laurel grew, 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 - symbol of a fresh young girl, as well as frivolous women and the “madness of peach blossoms” as a periphrase of the confusion of feelings in adolescence.

Framing workshop services

Big choice baguette and passe-partout, high-quality materials for decoration of works, modern technologies production of baguette frames, creativity to the design inherent in our employees, short deadlines for completing orders are the main characteristics of our framing workshop. There are many wonderful framing workshops in Moscow and our workshop takes its rightful place among the best of them.

Some framing workshops offer a full service - from employees visiting your home or office to take measurements and deliver the finished order to installing the decorated painting on the wall.

Types of work in framing workshops:

Hanging systems for pictures

For picture hangings can be used perlon fishing line, which is attached to metal profile rail. If necessary, you can simply move it picture V Right place. The most important thing is to drill holes V wall only have to do it once - when installation picture hanging system.

Framing workshop Moscow

Urgent framing workshop

Framing workshop in Moscow located on the street. Gilyarovsky, has a convenient location in close proximity from Prospekt Mira metro station.

Prices on design services framing workshop. Framing Workshop expands the scope of activities in Moscow And Moscow region by providing design services individuals and organizations. The main purpose framing workshop custom frame production. Urgent production order V workshop. To meet ever-increasing demands framing workshops Keencut Inc. responded with a new concept of “continuous development”. The main goal of the Keencut company is to develop design programs to help baguette makers. The company uses three-dimensional modeling technologies baguette equipment.

Custom frames

Urgent order in a framing workshop. Baguette frames to order. Workshop manufactures from wooden, plastic And aluminum baguette the best framing companies Europe. Mirror frames. Golden baguette frames. Baguette frames With passe-partout. Baguette frames retail and wholesale. Framework standard sizes - framework A3, A2, A4. Baguette frames large sizes. Framework from wide baguette. Baguette frames a3 with glass. A3 plastic frames with glass. Glare-free baguette glass. Prices on baguette frames.

Baguette Moscow

Order a baguette for paintings

Order a baguette for frames V Moscow framing workshop. Urgent production ordered framework V framing 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 variety of profiles, with different decorative finishing: ornaments, different colors, varnish And golden coatings. Mirrors in a baguette. Framing mirrors V golden baguette. Price baguette V Moscow.

Ordering a passe-partout from a framing workshop

Order a passe-partout in framing workshop. The passe-partout is made of colored cardboard, in which a “window” is cut out. As mat for paintings used baguette with a flat profile - the so-called "wooden passe-partout" - wide flat baguette, usually light colors, often with imitation textures canvas or covered real canvas. With raw side, finished cloth, suede or under gold, flat baguette insert located between painting And frame, increasing her width. Passepartout Can order And buy V our workshop. For small framing workshops Kaibab Artistic has created the Eclipse LT, a modified version of the computerized machine for cutting passe-partout.

Moscow

Baguette in Moscow

Framing Workshop is in center Moscow, on the street Gilyarovsky, has a convenient location in close proximity to the Prospekt Mira metro station.

Baguette Moscow. Prices on baguette design services. Ordering frames urgently V Moscow framing workshop. Passepartout in Moscow.

Moscow- capital of the Russian Federation, administrative center Central federal districts And Moscow region.

Mirror frame

There are many possible design options mirrors: from massive baroque ram with bronze candelabra thin metal edging V style high tech. Big choice mirror frames. Wood baguette for mirrors And paintings. Mirrors in gold baguette. Order mirror frames V framing workshop. Frame gives mirror decorativeness and determines its belonging to a specific style. Gold frame for mirror V living room. Plastic frames for mirrors V hallway, kitchen And bathroom. Mirror can "hit" interesting shape, original frame. By using mirrors you can hide the shortcomings of the home layout. Mirror in a wooden frame for the living room. Mirror in the interior it creates the effect of expanding space. Usually mirrors placed in hallway, bedroom, bathroom. Mirrors large sizes. Making large mirrors. Prices on mirrors.

Ordering glass from a framing workshop

Ordering glass from a framing workshop. Glass clamp frames without baguette. Glass photo frames. IN picture frame or in photo frame Cutting and inserting glass is easy. If the glass is supposed to be inserted into a frame with a rebate, then the size of the glass should be several millimeters smaller than the measured size of the rebate. If the dimensions of the sample are constant over its entire width and height, then an allowance of 2 mm is sufficient. Ordering frame glass. We can cut glass of any size and shape, in any quantity. Anti-reflective frame glass Can order And buy V framing workshop. Price on glass.

Ordering stretchers from 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 breaking. Manufacturing subframes to order. A well-made stretcher eliminates “sagging” of the canvas and thereby prolongs life picture. Craftsmen stretch canvas, embroidery and batik onto stretchers. Wooden subframe A3. Prices on subframes.

Hanging paintings

Framing Workshop (Moscow) proposes a new method picture hangings by using suspension system Nielsen. Barbell from aluminum profile Nielsen attached to the wall using plastic washers. Perlon lines are secured inside the rod profile using sliding hooks or sleeves and can be moved along the rod. Durable nylon fishing line 2 mm thick is almost invisible against the background of the wall. Paintings suspended on a 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 easily mounted under the ceiling and allows you to easily and without problems rehang pictures.

Baguette picture frames

Ordering picture frames from a framing workshop

Framing Workshop (Moscow) draws up V baguette paintings, watercolors, drawings, photographs, posters, mirrors, etc. Gold baguette for pictures. Large picture frames. Artists attach great importance to choice framing for their paintings. Many great artists made sketches of the elements of a baguette and even made it themselves. Golden frames For paintings. Ordering picture frames V framing workshop. Picture frames Can buy, previously having ordered in our framing workshop. Prices on picture frames.

Frames for watercolor paintings

In technology watercolor painting can be created paintings in the genre of landscape, still life, portrait. Transparency and softness of the thinnest paint layer paintings are characteristic properties 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

Thin picture frames

Drawings created by artists in the process of studying nature (sketches, studies), while searching compositional solutions graphic, pictorial and sculptural works(sketches, cardboards), when marking picturesque paintings ( preparatory drawing under painting). Professional baguette decor graphics, photographs, documents with using wooden baguette And passe-partout. Framework collected from baguette made from tropical wood. In our 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 when edging there is air space between the glass and the surface of the original. Classic graphics look better in double mat in light shades. Double passe-partout, composed of similar shades of ivory, creates the 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 within(aluminum or wood). Colored frames for children's drawings. Plastic frames A3 For drawings.

Plastic Photo Frames

Baguette frames for photos wholesale and retail

Traditionally the most interesting And memorable photos insert V framework, which can be placed on the table or hang on the wall. It's important to get it right choose a frame, it must match photos and harmonize with the interior of the room. Arrange photos possible in framing workshop(V center Moscow). The type of baguette depends on the type of images in the photograph (portrait, landscape, children's photos). At photo design Passepartout can be used. A slip (edging along the edge of the window) can be offered for the mat.
Large photo frames. Aluminum A3 frames Golden photo frames. Plastic photo frames. Wholesale photo frames a4 and a3 from plastic, aluminum And tree. Any suggestions for wholesale making frames For photos (photo frames). Can manufacture as one frame, so big wholesale order.

Ordering frames for diplomas in a framing workshop

Framing documents

Professional baguette decor documents. Order frames For diplomas V framing workshop Big choice framework For documents.

Plastic frames A3 and A4 A4 plastic frames for certificates, diplomas, diplomas. Ready frames standard sizes for certificates, diplomas, posters, photographs. Golden frames For diplomas. Golden frames a3. A3 poster frames. For diplomas, certificates and cards in framing workshop You can order lamination.

Frames for wall maps

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 You can put wall maps, posters, banners. Vintage geographic Maps best decoration for the 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 choose for her frame. Choosing frame For registration embroidery, it should be remembered that style, color, width and other features baguette for frame directly depend on the plot, style decision, color range and size embroidered pictures. To each embroidered picture select your own unique framing. Choice frames For embroidered pictures also depends on how it will be used embroidery design passe-partout or not.

Majority embroidered paintings It looks more effective if a passe-partout is used for decoration. Passepartout is made single, double, sometimes triple. Selecting a triple mat 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 cardboard passe-partout. More and more widespread 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 designs using colored wool and silk threads. Baguette for pictures from tapestry are chosen based on the plot depicted on the tapestry. Golden frames For tapestries. For registration tapestries most often a wooden baguette is used in brown shades, sometimes in gold, less often in silver. A3 frames for tapestries.

Medal frames

Baguette decoration of orders and medals

Baguette design collectibles. Professional decor orders, medals, badges. At registration V baguette orders and medals great importance has 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. Used as background green velvet(cloth) for military awards and blue for sports. Baguette frames a3 For orders and medals.

The world-famous painting is one of the first works of the painter Valentin Aleksandrovich Serov.

The artist's canvas depicts a tanned teenage girl, with wonderful dark eyes and a mop of thick hair. It's like she looks straight into the soul. There is no desire to call the girl a character in the picture.

After all, she is alive, and it seems that she is about to get up from the table and run on about her business. Or perhaps he will show us his house and introduce us to its inhabitants. Unfortunately, the girl will not leave the table - it’s as if the artist has stopped a moment of her life, her carefree childhood.

With this work “Girl with Peaches,” the painter immortalized not only himself, but also twelve-year-old Vera Mamontova, the daughter of Savva Ivanovich Mamontov, who at that time was a major industrialist and art lover.

His estate in Abramtsevo near Moscow was visited by many talented Russian artists. Valentin Serov has known the Mamontov family since childhood.

Here he was family, and was friends with the children of a famous industrialist - son Vsevolod and daughter Vera. “Girl with Peaches” was created by Serov when he was not yet twenty-two years old, in 1887. After painting this painting, the artist will live twenty-four years. Vera Mamontova herself will die early.

Verusha's dark face with a slightly noticeable blush is set off cold in the canvas blue, which contrasts with the warm tone of the fruit, leaves and red bow on the chest. A pink blouse gives a fresh look to a young face.

There is a feeling that the girl is looking sideways at the person standing behind the easel with her mischievous dark eyes, in which cheerful little devils are hidden. Her nostrils flare slightly, as if she is unable to run fast. And the lips are strictly compressed.

A twelve-year-old cheerful girl on a fine summer day just wants to run around and play pranks. And she has to sit at a table in a room without moving.

This work by the painter Serov required a large number of sessions. As Verusha’s brother recalled, his sister posed for a long time. The artist himself admitted the slowness of his work and was very tormented by it. Subsequently, Serov told Verusha that he was her unpaid debtor.

"Girl with Peaches", a painting painted in 1887, produced vivid impression on the Moscow of that time, but even today it amazes with its novelty and attracts with its impetuosity combined with spirituality and nobility.

This work by Valentin Aleksandrovich Serov, “Girl with Peaches,” instills hope in a person’s soul for a bright future and heals from despondency and sadness, giving a rich charge of vigor.