Girl with peaches description of the painting. "Girl with Peaches" - painting by Serov

But I don’t want to end the post about such a life-affirming and joyful picture “Girl with Peaches” on a sad note. After all, there are still the main characters of the picture - peaches. The appetizing ripe peaches lying on the table in front of the girl grew in the greenhouse of the Abramtsevo estate. The greenhouse was a source of special pride for the owners. They built it in Abramtsevo in 1871, shortly after acquiring the estate. The decision came to the owners spontaneously: greenhouse plants were being sold on a neighboring estate, and the Mamontovs bought fruit-bearing peach and plum trees for almost nothing. It was for them that two greenhouses were built and an old gardener, Mikhail Ivanovich, was invited from a neighboring estate. Transplanted with the light hand of Mikhail Ivanovich, the peaches and plums in the Mamontovs’ greenhouse regularly produced a harvest. - About this from the letters of Savva Ivanovich, one of which is dated February 28, 1873: “Yesterday I went to Abramtsevo... At Mich. Iv. (just a golden old man) there is such order that you couldn’t wish for better, the peaches are blooming in the first greenhouse, they are blooming in the second, there is such an air that I was simply delighted. There will be a lot of fruit, peaches and plums, as long as the stomachs are in order.”

Serov wrote “Girl with Peaches” during all three summer months of 1887, while he was visiting Savva Mamontov in Abramtsevo. I wrote with difficulty: firstly, I barely persuaded Savva’s daughter, 12-year-old Verochka Mamontova, to pose, and secondly, she had trouble sitting at the table for hours in the heat without moving. Serov completed work on the portrait in September. The yellowing leaves outside the window and on the table are evidence of the girl’s long patience. In addition, autumn maple leaves next to summer peaches seem to remind you: life is fleeting, and you should be happy while you are young and the sun is shining.

Vera Mamontova. Abramtsevo, 1890s.

The main cultural event of the year, without a doubt, was the exhibition of paintings by Valentin Serov, organized by the Tretyakov Gallery for the 150th anniversary of the artist. The main exhibit of the exhibition was “Girl with Peaches” - Serov’s most famous painting, which greeted every visitor to the Tretyakov building on Krymsky Val. Especially for the exhibition, the organizers even brought the picture to life by filming a video “Girl with Peaches”, which received one and a half million views in just one day

What is the secret of such attractiveness of this painting by Serov?

...The canonical history of the creation of the painting says that on an August day in 1887, 12-year-old Vera Mamontova, distracted from street fun, ran into the living room and sat down at the table, grabbing a peach - these fruits were grown especially for the girl in the Mamontovs’ greenhouse at their estate in Abramtsevo. The look of the girl suddenly so impressed the painter Valentin Serov, who was sitting in the same living room, that he invited the girl to paint her portrait. Moreover, Serov himself later recalled: “I painted for more than a month and tortured her, poor thing, to death, I really wanted the freshness of the painting, with complete completeness, like the old masters...”.

But, of course, things were actually a little different.

Verusha was the most beloved daughter of the millionaire and philanthropist Savva Mamontov (in total, the oligarch had five children, and the initial letters of their names made up the name of their father - Savva: Sergei, Andrey, Vsevolod, Vera and Alexandra). Therefore, painting portraits of a girl was an honorable duty of all artists who lived in Abramtsevo, using the patronage of Savva Ivanovich. And no other girl in Russia had as many portraits as Vera Mamontova had. And what portraits these are! For example, in Vasnetsov’s painting “Alyonushka” it is Vera who sits on a pebble above the surface of the Abramtsevo pond. By the way, this pebble has been preserved in the estate museum to this day. Vasnetsov also painted her in the image of the Snow Maiden. Ilya Repin portrayed Vera in the painting “They Didn’t Expect” - this is the daughter of a Narodnaya Volya member who returned from hard labor. Vrubel cast Vera's face for his sculpture "Egyptian Woman". But the most famous portrait, of course, is “Girl with Peaches.”

Serov came to Mamontov’s house as a child - at the age of 13. His childhood can hardly be called happy. Father - Alexander Nikolaevich Serov - was a famous composer and music critic at the time, who married his 17-year-old student Valentina Semyonovna Bergman at the age of 43 due to an unexpected pregnancy. The scandalous story was quickly hushed up, but the new child clearly weighed on the couple, preventing them from leading their usual bohemian lifestyle with sprees and friendly feasts. Moreover, if Alexander Nikolaevich’s social circle consisted of intelligent and aristocratic people (for example, he was friends with Turgenev and Nikolai Ge), then the young wife dragged nihilists and marginalized people into the house. “There were a lot of shaggy students,” Repin recalled, “all of them had unusually cheeky manners.”

However, the child disturbed the parents only at first, and then they simply stopped paying attention to the boy, locking him in the back room with colored pencils so as not to interfere with the guests having fun. This is how Valentin Serov began to draw.

When he was 6 years old, his father died. And Valentina Semyonovna, feeling like a free woman, went to Paris. She gave her son to study with the artist Ilya Repin, a family friend who also lived in Paris.

Young Serov lived with Repin almost as a member of the family, accompanying him on all sorts of trips, doing sketches, and the rest of the time copying Repin’s canvases - this was his only entertainment. Gradually, Serov became withdrawn and gloomy - character traits that remained in him throughout his life. A drawing by Repin depicting Serov at the age of thirteen has survived. It is enough just to look at this drawing to understand the character of the boy - wild, unsociable, looking from under his brows with a intent and persistent gaze.

In 1875, Repin introduced his dependent student to the millionaire Mamontov, who planned to implement a grandiose project - to create in Abramtsevo an art center for the creation of original Russian art, a unique national style. This is difficult for us today to understand, having absorbed the artistic standards of “Russianness” since kindergarten: from Khokhloma to Bilibin’s paintings. But one hundred and fifty years ago, no canons of “Russian style” existed: moreover, the word “Russian” itself was associated with some long-gone archaic, thick-dog boyar beards in sauerkraut, with bast shoes, caftans and other towels. The aristocracy, that is, the main consumer of art, preferred to speak French even among themselves, study classical Greco-Latin art, order dresses from Italian tailors and read French society novels. But in the first half of the 19th century, a fashion for romanticism appeared, and it was the romantics who gave birth to the fashion for the revival of the national spirit. This hobby spread throughout Europe: in France they remembered that they were the descendants of the rebellious Gauls, in Germany they talked about the heroic ancient Teutons and established folk archaeological societies. In Russia, the “pseudo-Russian” style in architecture flourished, of which Emperor Alexander III himself was a big fan. But Savva Mamontov, let us remind you, earned his capital on the construction of railways with stations under contracts of the government of the Russian Empire. And it was the train stations in those years that were considered a kind of “showcase” of the state, just as, for example, today airports are considered such “showcases”. That is why it was very important for Mamontov to have his own design bureau. And he entrusted the revival of the “Russian style” to very serious people: initially, the “Abramtsevo circle” included art history professor Adrian Prakhov, sculptor and academician Mark Antokolsky, Ilya Repin, Vasily Polenov and Viktor Vasnetsov.

Young Serov in this company was a simple apprentice and hanger-on, whom Mamontov, out of respect for Repin, allowed to live in the estate. Moreover, the boy was even renamed Anton - that’s what all the millionaire’s children began to call him (why Anton? - God knows), with whom he began to stage home plays. And, as Repin recalled, Serov soon became Savva Ivanovich’s favorite actor - because the audience roared with laughter, watching the gloomy teenager with an invariably mournful face portray either a “magic bunny” or a “cheerful hedgehog.”

In 1880, he entered the Academy of Arts, which he left after five years and went to Italy to look at the works of European masters.

He returned to Russia in 1887 and again came to Abramtsevo. It was necessary to get settled in the “Abramtsevo circle”, and for this the first thing was to effectively attract the attention of Savva Ivanovich.

It’s, you know, today guides at the Abramtsevo museum-estate love to talk breathily about oligarch Mamontov’s selfless love for art, his passion for painting and sculpture, his desire to save the world with the help of beauty. Let’s not repeat this pompous verbiage, but rather open the memoirs of Vladimir Telyakovsky, director of the imperial theaters, member of the “Abramtsevo circle”: “There is no doubt that Mamontov has a great merit in gathering around himself a whole galaxy of artists. It would seem that he should both love and respect them, meanwhile the qualities of the Russian merchant Savras often made themselves felt. For example, at dinner, when the famous Vrubel reached for wine, Mamontov stopped him in front of everyone and said: “Wait, this wine is not for you.” And he pointed to another, cheap one, which stood nearby. Mamontov often forced Korovin to wait in the hallway. In general, those artists who often endured a lot... The poor were Vrubel, Korovin and Golovin... Mamontov bought “Spanish Girls” from Korovin for a 25-ruble coat. Mamontov ordered a panel from Vrubel for 3,000 rubles, and when the panel was ready and Vrubel came for the money, Mamontov told him: “Here are 25 rubles, take it.” When Vrubel protested, Mamontov told him: “Take it, and then I won’t give you anything.” I had to take it - Vrubel didn’t have a penny of money...”

But Anton-Valentin knew how to please Savva Ivanovich.

He came to Abramtsevo and began to paint a portrait of Vera, trying to express in paint that remnant of harmony that had not yet been dissolved by Russian life - every vacationer of yesterday is familiar with this feeling.

And this was not just a portrait, it was a challenge to the entire “Abramtsevo circle”, it was a real artistic protest of Russian “Westernism” against the cult of Russian Asianism, the dominance of all these long-skirted brocade robes, kokoshniks and caftans, appropriate in some medieval mansion, and not in an enlightened European state. A protest that was never heard.

Well, to say that his work made a splash is an understatement. No one expected that the always gloomy and unsociable Anton would paint such a sunny picture, so filled with joy and light.

Look at the girl. Is this 12-year-old and always restless Verusha, a hooligan boy and prima ballerina of her own theater?

Most of all, the girl depicted in the picture resembles Leonardo da Vinci's Mona Lisa: the same mysterious smile, the same light hidden in her eyes, slightly ironic and tired. It seems like she's about to say something... What? But more on that later.

And of course, all the “Abramtsevo” inhabitants paid attention to the hidden symbolic subtext of “Girls with Peaches”. Look again at the vertical composition that is formed by two large objects: at the top there is a cold white dish with a blue ornament, at the bottom there are three juicy bright fruits, between them is the girl herself. (By the way, an interesting fact: today in Abramtsev’s living room there really is a blue and white plate hanging on the wall, but this plate was made two years after the painting was painted - that is, there was no plate on the wall at the time the painting was painted.)

Well, in any other picture it would be just a dish and fruit, but in this case we are talking about the artists of the “Abramtsevo circle”, for whom a collection of folk tales by folklorist A.N. Afanasyev was a real reference book, an inexhaustible source of images and themes for creativity. And for them the meaning of these symbols was obvious - this is a direct reference to “The Tale of the Silver Saucer and the Pourable Apple” - a work that became a kind of discovery for Russian romantics: it was not without reason that Konstantin Balmont turned this fairy tale into verse for his poetry collection “The Dawn of the Dawn”.

Here, of course, it is worth explaining that any person who decides to get acquainted with folk tales - whether Russian, German or French - not from films, but from serious scientific books, will face a very unpleasant discovery: least of all, folk tales are like good cartoons for children with happy ending. On the contrary: these are, as a rule, dark and cruel stories about the triumph of death (remember the same “Kolobok” - what kind of happy ending is there?!). But there are exceptions in these tales that remind us of the power of love and life. “The Tale of the Silver Saucer and the Filled Apple” is just one of them. This is a story about a girl who received a magical gift - a saucer with an apple that can reflect the whole world. This is a kind of model of the Earth with the sun - an apple: “An apple rolls on a saucer, poured on a silver one, and on the saucer all the cities are visible one after another, ships on the seas and shelves in the fields, and the height of the mountains and the beauty of the skies; the sun rolls after the sun, the stars gather in a round dance - everything is so beautiful, it’s amazing - no matter what you can say in a fairy tale or write with a pen.” (Afanasyev himself writes in a special note that in the mythology of the ancient Greeks this silver dish belonged to the goddess Zara, seated on a golden throne, and the goddess rolled the sun on the dish.)

The sisters, out of envy, killed the girl and hid her corpse in the forest, but the power of her love and the love of her father did the impossible - the girl is resurrected. And the first thing she did was, with tears in her eyes, ask for forgiveness from her unlucky sister-killers:

You will find living water,
Here you will wake me up
Even though I'm killed, I'm only sleeping
But don’t kill your sisters,
I love my sisters...

Thus, the victory of life over death, according to Balmont, is inextricably linked with all-forgiving love.

It was with this love that Vera Mamontova’s eyes shone on the canvas: only through love will you be saved.

His daughter’s smile became the only treasure that Savva Ivanovich had left when, as a result of political intrigue, he lost all his millions in capital and was imprisoned on charges of theft. And although Mamontov was acquitted at the trial, his business reputation was dealt a mortal blow. The case was closed, but, despite the acquittal, Mamontov lost almost all of his fortune during the time when no one was involved in the case. In fact, he only had a small ceramic workshop left, the income from which was barely enough.

Savva Mamontov lived the last years of his life in a small wooden house, trying not to appear in public and not even maintain relationships with former artist friends. His mistress left him, but Alexandra’s wife and daughter returned. He was very worried about the death of his beloved Vera - she died in December 1907 from transient pneumonia, burning out in just three days. After her death, Savva Ivanovich quickly aged, and not a trace remained of his former regular at theaters and restaurants. He died in April 1918. There was not a single line in the newspapers about this event.

V.A. Serov was born in the Northern capital on January 7, 1865 (old style), his father was the famous composer Alexander Nikolaevich Serov. Even from the cradle, the future creator began to become involved in art. By the way, his dad often drew in his spare time.

Serov's exceptional powers of observation and talent for painting awoke early, and his surroundings only fueled his interest in art. But at that time the boy did not yet suspect that from under his brush would come the brilliant painting “Girl with Peaches.” The artist grew up without dreaming of fame. He was generally distinguished by modesty.

Training with Repin and Chistyakov, universal recognition

When the future artist matured a little, I. E. Repin himself began to work with him. First, the lessons were held in the capital of France, then in Moscow, and then in Abramtsevo. Some time later, Repin went with his ward to Zaporozhye, after which in 1880 he advised him to enter the Academy of Arts to study with the famous P. P. Chistyakov. Soon, as was to be expected, the young talent won everyone's admiration, his abilities impressed everyone.

P.P. Chistyakov spoke very positively about Serov, he said that it was the first time he had met such a gifted young man. The artist's comrades claimed that he had many good qualities, such as sincerity and directness.

Creating brilliant paintings

In Abramtsevo, Serov painted a picture that later became famous - a portrait of little Vera Mamontova called “Girl with Peaches.” This was in 1887. The artist said that he wanted the picture to be finished, but at the same time fresh, as was the case with the old authors. And, without a doubt, he succeeded. However, he did not try to describe the painting “Girl with Peaches” in words. Why, if admirers of his talent could see everything themselves? A year later, a picture depicting his cousin was painted in Domotkanovo. He called the work “Girl illuminated by the sun.”

Such masterpieces as “A Woman with a Horse”, “Striguns”, “October” were also created there. In addition, the artist made illustrations for Krylov’s works.

Marriage

In 1887, a marriage was concluded between Valentin Serov and Olga Trubnikova. Subsequently, they had several children and lived quite happily. Valentin Aleksandrovich in children, happily painted their portraits. At that time the artist was already famous. Everyone was aware that “Girl with Peaches” was a painting by Serov.

Observation

In the 90s, the artist received many orders from famous people. After the creation of portraits of M. F. Morozova and S. M. Botkina, demonstrated at an exhibition in the capital of France, a new period began in the master’s work. The artist’s acquaintances said that many were afraid of Serov, since he was very observant and always gave a person an objective assessment. Some even accused the master that his portraits looked like caricatures. However, Serov claimed that he never set himself the goal of drawing a cartoon - he writes what he sees. And if there is something caricatured in a person, then it is not his fault - he just noticed it and brought it out.

A new milestone in creativity

The revolution that occurred in 1905 significantly affected the life and work of the master. It was at this time that his mature personality was formed - a sensitive citizen. He depicted the Cossacks’ attack on helpless people, wrote a number of political cartoons and several paintings on similar themes. This was a little unexpected for everyone. The author of the painting “Girl with Peaches” created canvases on themes that were fundamentally new to him.

Painting "Peter I"

In the 1890s-1900s, the master recalled bygone times and national history. He felt some nostalgia. Peter's heroic time, extraordinary and to some extent cruel, occupied all of Serov's thoughts. In 1907, the painting “Peter I” was created. The Emperor, on his long legs, stern and impetuous, walks towards the stormy wind. The people accompanying him seem to have just arrived from the carnival. Their robes, lifted by the wind, look quite unusual.

People follow Peter with all their might, trying not to fall and stay on their feet. In the confident gait of the emperor, in the raging river, in the clouds moving across the sky, in the high masts of ships - in everything one can feel the striving for change, which invariably brings the strong-willed, active and brave people. However, at that time many were more interested in analyzing the painting “Girl with Peaches” than in this painting.

Creation of the paintings “The Rape of Europa” and “Odysseus and Nausicaa”

At the end of the spring of 1907, the artist went to Greece, which left a mark on his heart for the rest of his life. The ancient classics amazed Serov - in it he saw real harmony and beauty. The master wanted to perpetuate what he saw and embody the spirit of glorious history, the sophistication of the legends of Hellas. Serov created the painting “The Rape of Europa”, as well as several versions of “Odysseus and Nausicaa”.

“Girl with Peaches”: description of the painting

In 1887, the artist created a painting that later became his most famous creation.

Young Serov was visiting Savva Mamontov, who lived in Abramtsevo. Creative personalities often visited his house, and everyone paid attention to the sweet girl Vera - she was charming. Serov was no exception - he depicted her in his painting.

The artist painted twelve-year-old Vera for three months. Now this seems surprising, since it seems that the canvas was created in a short moment, in one impulse. This picture looks a bit like a photo that was taken hastily to make sure the camera was working. This is the interesting impression left on many who look at the painting “Girl with Peaches.” The description of the picture would be incomplete without this interesting fact.

A tanned girl sits at the table. She is wearing a light robe, decorated with a bow. The girl has just come running from the street, her nostrils are slightly dilated - she is breathing quickly, her cheeks are pink from running. She sat down only for one minute - she had no time, she was in a hurry again, because the weather outside was beautiful, and she really wanted to take a walk in the garden.

Verochka cannot sit idle with her hands folded. She needs to move, that’s her essence. So she grabbed a peach so that at least her fingers would not be idle. She absolutely needs movement. At the moment the girl is in a lively state. This is noticeable in her dark, expressive eyes and open gaze. The sweet girl with peaches delights with her overflowing vitality. must necessarily include

The entire room is filled with sunlight, which easily penetrates from the street and illuminates Verochka and the old furniture in the room. There is a knife on the table, as well as peaches. All of the above sparkles and stands out noticeably against the background of a light tablecloth. The room seemed to have woken up and was expecting something.

The bluish shades of the canvas give Verochka’s tanned face some coldness, but the peaches are painted in warm colors - they make the picture more pleasing to the eye. You should also pay attention to the leaves and the girl’s blouse. The artist also depicted them as quite warm. These soul-warming shades are what makes the painting “Girl with Peaches” so attractive. The description of the painting may arouse someone's interest in it.

The canvas makes an optimistic impression. The painting depicts a celebration of life and youth. The artist achieved this effect by resorting to some Impressionist tricks. Thanks to the trembling strokes, the canvas seems deeper; they emphasize shadow and light, demonstrating a special brightness.

Picture-story

From Serov’s painting we learn a lot about Verochka, because all her emotions and impulses can be read by her facial expression. Verochka’s sincerity, her harmonious relationship with nature and the surrounding world made the painting “Girl with Peaches” the most famous portrait of all time, because the artist did not just depict a child, he created a story about life. Well, how can one not admit that Serov is a real talent?

Now you know the history of the painting “Girl with Peaches”. It is best to view this painting in a museum - this way it will make a stronger impression. You can look at other paintings by Serov, because they are no less brilliant. It turned out that “Girl with Peaches” eclipsed all the artist’s other works, and many remember him as the author of one painting, which is a bit of a shame. It is necessary to fill the gaps in knowledge and get acquainted with all of Serov’s paintings, especially since there are all the conditions for this. The artist's works are delightful and deserve attention, and none should go unnoticed.

Even people far from art know this picture. We are talking about the famous “Girl with Peaches” by Valentin Serov. Those who are interested in the work of this artist also know that 11-year-old Vera Mamontova, the daughter of a famous philanthropist and wealthy industrialist, posed for him. But few people know what happened to the heroine when she grew up, and what tragic fate awaited her family.

Valentin Serov created his most famous work at a young age - he was only 22 years old at that time. In the spring of 1887, he returned from Italy and stopped to stay at Savva Mamontov’s Abramtsevo estate near Moscow. The artist worked with inspiration and as if in one breath, but at the same time the girl had to pose for quite a long time. Serov later wrote about that period: “All I sought was freshness, that special freshness that you always feel in nature and do not see in paintings. I wrote for more than a month and tortured her, poor thing, to death.”

The estate in Abramtsevo was a real house of creativity: Turgenev, Antokolsky, Surikov, Korovin stayed here. Many artists who visited Abramtsevo painted Vera Mamontova: Repin, Vasnetsov, Vrubel also created her portraits. Vrubel endowed her with the features of “Snow Maiden”, “Egyptian”, Tamara in the illustrations for “Demon”. V. Vasnetsov explained the desire of artists to paint her this way: “This was the type of a real Russian girl in character, beauty of face, charm.” But the most famous was Serov’s painting “Girl with Peaches.”

The artist painted a portrait of Vera in the dining room, outside the window of which one could see Abramtsevo Park with an alley named Gogolevskaya in honor of the writer who once loved to walk here. Writers and artists often gathered in the next room, the Red Living Room.

Serov gave the painting to Elizaveta Mamontova, Vera’s mother, and the portrait hung for a long time in the room in which it was painted. Later the painting ended up in the Tretyakov Gallery, and a copy remained in Abramtsevo. After “Girl with Peaches,” people started talking about Serov, and he soon became one of the most fashionable portrait painters. But what was the further fate of Vera Mamontova herself?

Vera married Alexander Samarin, leader of the Moscow nobility and minister of church affairs. The wedding took place in the Church of Boris and Gleb, which was later destroyed by the Bolsheviks. Now in its place, next to the exit from the Arbatskaya metro station, there is a chapel.

The marriage was very happy, Vera gave birth to three children, but at the age of 32 her life was suddenly cut short. Within a few days she burned out from severe pneumonia.

After her death, Alexander Samarin never married, and in memory of his wife he built the Church of the Life-Giving Trinity in Averkievo, near their estate. During Soviet times, the temple was destroyed and used as a warehouse. Now it has been restored again. Vera Mamontova's husband was exiled to a camp in the 1920s, and their daughter Lisa went with him. And he died in 1932 in the Gulag.

“Behind the scenes” of famous paintings there are still many secrets: famous paintings by Mikhail Vrubel, created one step away from madness- a vivid example of this.

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 a modest schoolteacher, 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 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 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 Russian art owes so much, in this life “with her father’s light,” Verusha brought her own distinct note, which increased the overall high artistic mood of the wonderful community that lived and worked in the old Aksakovsky 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 unruly thick hair, she gazes 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 at 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 the 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 by the strength of the performance, but also by the type of person depicted, bearing 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 it was transferred to the Tretyakov Gallery, and 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 First of all, the image of his young heroine remained, although many different objects came 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 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 his 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, the poetry of her life's image, the 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 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 extensive family library, sitting on his father’s lap.

One day, when Morgan was still a student and working 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 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 his free time, he painted for the soul, and his first serious painting 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. The following year, at 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 at 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 a laurel grew over a peach tree in the garden of Emperor Alexander Severus, it 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.

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A large selection of baguettes and mats, high-quality materials for designing work, modern technologies for manufacturing frames, a creative approach to design inherent in our employees, short lead times for 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 to the right place. The most important thing is to drill holes V wall only have to do it once - when installation picture hanging system.

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