Days of free visits to the museum

Every Wednesday you can visit for free the permanent exhibition “Art of the 20th Century” in the New Tretyakov Gallery, as well as temporary exhibitions “The Gift of Oleg Yakhont” and “Konstantin Istomin. Color in the Window”, taking place in the Engineering Building.

The right to free access to exhibitions in the Main Building on Lavrushinsky Lane, the Engineering Building, the New Tretyakov Gallery, the V.M. House-Museum. Vasnetsov, museum-apartment of A.M. Vasnetsova is provided on the following days for certain categories of citizens in order general queue :

First and second Sunday of every month:

for students of higher educational institutions of the Russian Federation, regardless of the form of study (including foreign citizens-students of Russian universities, graduate students, adjuncts, residents, assistant trainees) upon presentation of a student card (does not apply to persons presenting student cards “student-trainee” );

for students of secondary and secondary specialized educational institutions (from 18 years old) (citizens of Russia and CIS countries). Students holding ISIC cards on the first and second Sunday of each month have the right to free admission to the “Art of the 20th Century” exhibition at the New Tretyakov Gallery.

every Saturday - for members large families(citizens of Russia and CIS countries).

Please note that conditions for free admission to temporary exhibitions may vary. Check the exhibition pages for more information.

Attention! At the Gallery's box office, entrance tickets are provided at a nominal value of “free” (upon presentation of the appropriate documents - for the above-mentioned visitors). In this case, all services of the Gallery, including excursion services, are paid in accordance with the established procedure.

Visit to the museum holidays

On National Unity Day - November 4 - Tretyakov Gallery open from 10:00 to 18:00 (entrance until 17:00). Paid entrance.

• Tretyakov Gallery in Lavrushinsky Lane, Engineering Building and New Tretyakov Gallery - from 10:00 to 18:00 (box office and entrance until 17:00)
• Museum-apartment of A.M. Vasnetsov and the House-Museum of V.M. Vasnetsova - closed

Waiting for you!

Please note that the conditions for discounted admission to temporary exhibitions may vary. Check the exhibition pages for more information.

The right to preferential visits The Gallery, except in cases provided for by a separate order of the Gallery management, is provided upon presentation of documents confirming the right to preferential visits to:

• pensioners (citizens of Russia and CIS countries),
• full holders of the Order of Glory,
• students of secondary and secondary specialized educational institutions (from 18 years old),
• students of higher educational institutions of Russia, as well as foreign students studying at Russian universities (except for intern students),
• members of large families (citizens of Russia and CIS countries).

Free visit right The main and temporary exhibitions of the Gallery, except in cases provided for by a separate order of the Gallery’s management, are provided to the following categories of citizens upon presentation of documents confirming the right of free admission:

• persons under 18 years of age;
• students of faculties specializing in the field visual arts secondary specialized and higher educational institutions of Russia, regardless of the form of education (as well as foreign students studying at Russian universities). The clause does not apply to persons presenting student cards of “trainee students” (if there is no information about the faculty on the student card, a certificate from educational institution With mandatory indication faculty);
• veterans and disabled people of the Great Patriotic War, participants in hostilities, former minor prisoners of concentration camps, ghettos and other places of forced detention created by the fascists and their allies during the Second World War, illegally repressed and rehabilitated citizens (citizens of Russia and the CIS countries);
• conscripts Russian Federation;
• Heroes of the Soviet Union, Heroes of the Russian Federation, Full Knights of the Order of Glory (citizens of Russia and CIS countries);
• disabled people of groups I and II, participants in the liquidation of the consequences of a disaster in Chernobyl nuclear power plant(citizens of Russia and CIS countries);
• one accompanying disabled person of group I (citizens of Russia and CIS countries);
• one accompanying disabled child (citizens of Russia and CIS countries);
• artists, architects, designers - members of the relevant creative Unions of Russia and its constituent entities, art historians - members of the Association of Art Critics of Russia and its constituent entities, members and employees Russian Academy arts;
• members of the International Council of Museums (ICOM);
• employees of museums of the system of the Ministry of Culture of the Russian Federation and the relevant Departments of Culture, employees of the Ministry of Culture of the Russian Federation and ministries of culture of the constituent entities of the Russian Federation;
• volunteers of the “Sputnik” program - entrance to the exhibition “Art of the 20th Century” (Krymsky Val, 10) and “Masterpieces of Russian Art of the 11th - early 20th Century” (Lavrushinsky Lane, 10), as well as to the House-Museum of V.M. Vasnetsov and the Apartment Museum of A.M. Vasnetsova (citizens of Russia);
• guides-translators who have an accreditation card of the Association of Guides-Translators and Tour Managers of Russia, including those accompanying a group of foreign tourists;
• one teacher of an educational institution and one accompanying a group of students from secondary and secondary specialized educational institutions (with an excursion voucher or subscription); one teacher from an educational institution that has state accreditation educational activities during the agreed training session and having a special badge (citizens of Russia and CIS countries);
• one accompanying a group of students or a group of conscripts (if they have an excursion package, subscription and during a training session) (Russian citizens).

Visitors to the above categories of citizens receive a “Free” entrance ticket.

Please note that the conditions for discounted admission to temporary exhibitions may vary. Check the exhibition pages for more information.

The painting Pan is unanimously recognized as the pinnacle, if not of Vrubel’s entire work, then of his fairy-tale suite.
They say that the impetus was reading A. France’s story “Saint Satyr”. In the painting “Pan,” the Hellenic goat-footed god turns into a Russian goblin. Twilight. The waters of the small river are still turning blue, reflecting the evening sky, and in the thick darkness behind the black palisade of the old forest a young rosy moon rises. The birch trees are whispering about something, but the silence imperceptibly bewitches nature, and then Pan’s blue, spring-fresh eyes begin to sparkle.
Old, wrinkled, with bottomless blue eyes, knobby fingers like twigs, he seems to emerge from a mossy stump. The characteristic Russian landscape takes on a fantastic, magical coloring - vast wet meadows, a winding river, thin birch trees frozen in the silence of the falling twilight, illuminated by the crimson of the horned moon.
Here the figure and the landscape form a unity and cannot be imagined without each other. And they can turn into each other. The element of transformation that reigns in fairy tales is natural for Vrubel’s paintings, because in his painting the partitions between the kingdoms of nature, between the living and the inanimate, between man and forest creatures, the elements and everything that fills the earth, water and sky are removed. One, common life in everything.
Fyodor Ivanovich Tyutchev.

1835
The gray shadows mixed,
The color faded, the sound fell asleep -
Life and movement resolved
Into the unsteady twilight, into the distant roar...
Moth flight invisible
Heard in the night air...
An hour of unspeakable melancholy!..
Everything is in me, and I am in everything!..
Quiet dusk, sleepy dusk,
Lean into the depths of my soul,
Quiet, dark, fragrant,
Fill it all up and calm it down.
Feelings of self-forgetfulness
Fill it over the edge!..
Give me a taste of destruction
Mix with the slumbering world!

Where did this appearance come from, where did the artist get this remarkable bald head, round, browed, blue-eyed face, overgrown with wild curls? Usually the heroes of Vrubel’s paintings bear a portrait resemblance to someone he knew, and contemporaries had no difficulty guessing who served as the prototype. But “Pan”, it seems, was not identified; in any case, no one posed for him for the artist.
Whether Vrubel spotted such an old man somewhere in a Ukrainian village or he simply imagined him on a moonlit night at the sight of an old mossy stump is unknown. But viewers of different generations find in “Pan” a resemblance to someone they met, and whom Vrubel could not have met - proof of how vital and tenacious this fairy-tale grandfather is. And at the same time, he is absolutely fantastic, he is the forest evil spirit, the personification of what one imagines and imagines when lost at night. It seems that a gray stump begins to move, ram's horns curl under the shaggy moss, a gnarled hand detaches itself, clutching a multi-stemmed pipe, and suddenly round, blue eyes open, like phosphorescent fireflies. As if responding to the silent call of the forest owner, the moon slowly creeps out from behind the horizon, the surface of the river flashes with a blue glow - a small blue flower. The goblin is the soul and body of these copses and thin plains, the curls of his fur are like a rising crescent, the bend of his arm echoes the bend of a crooked birch tree, and he is all gnarled, brown, made of earth, moss, tree bark and roots. The magical emptiness of his eyes speaks of some kind of animal or plant wisdom, alien to consciousness.

Pan - in ancient greek mythology- deity of herds, forests and fields. Pan goatfoot, with goat horns, covered with wool. He is known for his passion for wine and fun. He is full of passionate love and pursues nymphs. The nymph Syringa, in fear of Pan, turned into a reed, from which Pan made a pipe.
Pan, as the deity of the elemental forces of nature, instills unreasonable, so-called panic fear in people, especially during the summer afternoon, when forests and fields freeze. Early Christianity ranked Pan among the demonic world, calling him the “midday demon,” which seduces and frightens people.

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Painting by Russian artists
Painting by Mikhail Vrubel “Pan”. Canvas, oil.

“Pan” is unanimously recognized as the pinnacle, if not of Vrubel’s entire work, then of his fairy-tale suite. Result artistic work often unpredictable and unexpected. It happens that an artist devotes months, even years, to a cherished idea, carefully preparing, thinking, writing and rewriting, but the thing never comes to fruition. And sometimes great works are created suddenly, as if impromptu. Vrubel wrote “Pana” in two or three days, taking, with his characteristic impatience, a canvas with a portrait of his wife he had begun.

They say that the impetus was reading Anatole France’s story “Saint Satyr”. And the artist first called his painting “Satyr”. The Hellenic goat-footed god and the Russian goblin are united on it into one person. But there is more to it than the devil - both the Russian landscape and the appearance of Pan. Where did this appearance come from, where did the artist get this remarkable bald head, round, browed, blue-eyed face, overgrown with wild curls?

Usually the heroes of Vrubel’s paintings bear a portrait resemblance to someone he knew, and contemporaries had no difficulty guessing who served as the prototype. But “Pan” does not seem to have been identified; in any case, no one posed for the artist for him and there was no search for a type. Whether Vrubel spotted such an old man somewhere in a Ukrainian village or he simply imagined him on a moonlit night at the sight of an old mossy stump is unknown. But viewers of different generations find in “Pan” a resemblance to someone they met and whom Vrubel could not meet - proof of how vital and tenacious this fairy-tale grandfather is.

And at the same time, he is completely fantastic, he is the forest undead, the personification of what one imagines and imagines when lost at night. A gray stump begins to move, ram's horns curl under the shaggy moss, a gnarled hand detaches itself, clutching a multi-stemmed pipe, and suddenly round blue eyes open, like phosphorescent fireflies. As if responding to the silent call of the forest owner, the moon slowly creeps out from behind the horizon, the surface of the river and a small blue flower flash with a blue glow.

The goblin is both the soul and the body of these copses and swampy plains; the curls of his fur are like a rising crescent, the bend of his arm echoes the bend of a crooked birch tree, and he is all gnarled, brown, made of earth, moss, tree bark and roots. The magical emptiness of his eyes speaks of some kind of animal or plant wisdom, alien to consciousness: this being is completely elemental, infinitely far from that painful reflection that cramps the mighty muscles of the Demon.

Mikhail Vrubel’s painting “Pan” was painted in 1899 during the artist’s stay in the Oryol region on the estate of Tenisheva, known to the Russian philanthropist.

Against the backdrop of a real evening landscape with clearly drawn lines of thin-trunked trees, illuminated by the mysterious light of a bright crescent moon, Vrubel depicted some kind of fairy-tale creature. Perhaps this is an ancient Greek mythological hero, considered the guardian of sacred goats and rams: it is no coincidence that in his right hand- pipe, an indispensable shepherd’s attribute. With his kind blue eyes he watches everything that happens around him. With his gray beard and disheveled hair, he resembles Leshy from Russian fairy tales, who keeps order in the swamps. On the wide forehead there are protruding black horns, below - the appearance of a goat. This gives the character more mystery.

It is known that the author came up with the idea for the painting after becoming acquainted with the story “Saint Satyr” by Anatole Franz. The artist painted the strange creature in just a few days.

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Vrubel's painting by Mikhail Pan: description, biography of the artist, customer reviews, other works by the author. Large catalog of paintings by Mikhail Vrubel on the website of the BigArtShop online store.

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Mikhail Aleksandrovich Vrubel was born in 1856 in Omsk, where his father, at that time the senior staff adjutant of the Separate Siberian Corps, was serving. When the boy was three years old, his mother died of consumption. In Mikhail’s memory, she remained cutting out “little men, horses and various fantastic figures” from paper for the children while lying in bed.

In the same year, his father was transferred to serve in Astrakhan, and in 1860 he was assigned to Kharkov, so Mikhail’s childhood was spent in constant moving. In 1863, Mikhail’s father married for the second time, the family moved to Saratov, where Lieutenant Colonel Vrubel took command of the provincial garrison, and his new wife Elizaveta Wessel devoted herself entirely to her husband’s children (she gave birth to her own child in 1967)

Elizabeth’s brother, professional teacher Nikolai Khristianovich Wessel, who was passionate about educational games and home performances, was also involved in raising the children. Despite the excellent relations between all relatives, Mikhail and his older sister Anna kept themselves somewhat aloof and clearly expressed a desire to start an independent life outside the home.

By the age of ten, Mikhail showed an ability to draw, but theater and music occupied no less place in his life.

For Mikhail’s painting lessons, his father invited a teacher from the Saratov gymnasium, Andrei Sergeevich Godin. The copy of Michelangelo’s fresco “The Last Judgment” that was brought to Saratov at that time made a great impression on the formation of Mikhail’s artistic taste.

In 1867, Mikhail’s father became a student at the Military Law Academy in St. Petersburg, and Mikhail entered the gymnasium, where Special attention devoted to ancient languages, literary development, dance and gymnastics classes were introduced. He studied drawing at school at the Society for the Encouragement of Artists.

After spending three years in the capital, in 1870 the family went to Odessa, where Alexander Mikhailovich Vrubel was appointed to the post of garrison judge.

In Odessa, Mikhail began studying at the Richelieu gymnasium. The theater in those days fascinated him more than painting.

After graduating from high school with a gold medal, neither Vrubel himself nor his parents thought about a career as an artist. It was decided to send him to St. Petersburg University, to the Faculty of Law.

In 1876, Vrubel remained in his second year for another year, wanting to strengthen his knowledge and improve his grades. As a result, having studied for a year more than the required period, Vrubel did not defend his final competitive work and graduated from the university with the rank of a full student.

During his university years he made illustrations for literary works, but he was more interested in participating in theatrical life(Vrubel knew Modest Mussorgsky, who visited their house) The theater required considerable expenses, so Vrubel regularly earned money by tutoring and tutoring. Thanks to this work, in mid-1875 he was able to visit Europe for the first time, visiting France, Switzerland and Germany with his pupil.

Thanks to his excellent knowledge of Latin, Vrubel lived for about five years in the Papmel family of sugar producers, becoming a tutor to his own university classmate.

In the winter I went to the opera with them, in the summer I moved with everyone to the dacha in Peterhof. It was the Papmels who first discovered in Vrubel a penchant for wine, of which there was never a shortage here.

It was the Papmel family, inclined towards aesthetics and bohemian life, that began to encourage art classes Vrubel. He again began attending academic evening classes. At the age of 24, after graduating from university and serving a short military service, Vrubel entered the Academy of Arts and immediately began to study privately in the studio of Pavel Chistyakov.

One of the most important things for Vrubel at the Academy was his acquaintance with Valentin Serov.

Since 1882, having transferred to the full-scale class, Mikhail Alexandrovich combined classes with Pavel Chistyakov with morning watercolor studies in the studio of Ilya Repin.

Vrubel never managed to officially graduate from the Academy, although he had some success: the composition “The Betrothal of Mary to Joseph” was awarded the second silver medal of the Academy in the spring of 1883.

In the fall of 1883, Professor Adrian Prakhov, on the recommendation of Chistyakov, invited Vrubel to Kyiv to work on the restoration of the 12th-century Cyril Church. The offer was flattering and promised good earnings, so Vrubel accepted the offer, no longer needing training.

Vrubel's Kyiv works turned out to be an important stage in his artistic biography. The total amount of work he completed over five years is enormous: independent painting in the St. Cyril Church and icons for it, drawing one hundred and fifty figures there for restoration underpaintings and restoration of the figure of an angel in the dome of the St. Sophia Cathedral.

During his stay in Kyiv in the summer of 1884, the artist fell in love with the wife of his patron, Emilia Lvovna Prakhova. Her face is depicted on the icon of “The Virgin and Child.” A romance could not have arisen, but the 27-year-old artist made Emilia Lvovna the object of some kind of romantic cult.

After Vrubel moved to the Prakhovs' dacha, however, his affection began to irritate both. The solution was the artist's business trip to Italy - to Ravenna and Venice, to study the monuments of late Roman and Byzantine art preserved there.

Returning from Venice, Vrubel spent the whole of May and most of June 1885 in Kiev, proposed to Emilia Prahova, despite her position as the mother of the family, and, according to one version, he announced his intention to marry her not even Emilia Lvovna herself, and to her husband - Adrian Viktorovich.

Mikhail Alexandrovich led a bohemian lifestyle and became a regular at the Chateau de Fleurs cafe. This absorbed all his small fees.

In 1889, Father Vrubel was transferred from Kharkov to Kazan, where he became seriously ill. The son was forced to leave Kyiv and urgently come to Kazan. Vrubel's father recovered, but decided to retire and settle in Kyiv.

In September, Mikhail Vrubel went to Moscow to see his friends and, as a result, stayed in this city for a decade and a half. Vrubel's move to Moscow happened by accident, like many things in his life. Most likely, he came to the capital because of his passion for a circus rider.

Vrubel settled in the studio of Konstantin Korovin.

Korovin introduced Mikhail Alexandrovich to the entrepreneur and famous philanthropist Savva Mamontov. In December, the artist moved into his house, invited “not without attention to his skills as a tutor.” But Savva Mamontova’s wife could not stand Vrubel at all and openly called him “a blasphemer and a drunkard.”

Soon the artist moved to a rented apartment.

On July 20, 1890, 22-year-old A. Mamontov died in Abramtsevo, and Vrubel, who was his friend, went to say goodbye to him. The artist remained in Abramtsevo, where he became passionately interested in ceramics and soon proudly wrote to his sister Anna Vrubel that he had become the head of a “factory of tiled and terracotta decorations.”

Savva Mamontov, although he did not share the artist’s aesthetic aspirations, recognized his talent and tried in every possible way to create a suitable living environment for him - as a result, for the first time in his life, Vrubel ceased to be a parasite in noble families and could earn good money: he received orders for several stove compositions, began creating majolica chapel over the grave of A. Mamontov and began to develop a project for an extension to the Mamontov town house in the “Roman-Byzantine taste”.

“Vrubel... turned out to be indispensable, since he really could do everything with ease, but he did not compose texts. His talent revealed universal possibilities. Sculpture, mosaic, stained glass, majolica, architectural masks, architectural designs, theatrical scenery, costumes - everywhere he found himself in his element.

In 1891, the Mamontov family went to Italy, and the routes were built taking into account the special interests of the Abramtsevo pottery workshop. Vrubel accompanied the head of the family as a consultant; as a result, an acute conflict arose with his wife, Elizaveta Grigorievna, and Mamontov and the artist left for Milan.

Savva Ivanovich gave Vrubel a monthly salary, but an attempt to settle Vrubel in the Mamontovs’ house led to another conflict, and Mikhail Alexandrovich settled with the Svedomskys. The atmosphere of the workshop of Alexander and Pavel Svedomsky was also close to him. The Svedomskys unconditionally recognized Vrubel’s creative superiority and not only sheltered him at home, but also shared orders.

Vrubel again spent the winter of 1892-1893 in Abramtsevo. Orders from Mamontov led to the strengthening of Vrubel’s reputation in Moscow, and he was able to receive several lucrative orders to decorate the mansion of the Dunker family on Povarskaya, and then to decorate the mansion of Savva Morozov. Vrubel worked together with the most significant architect of Moscow Art Nouveau, Fyodor Shekhtel.

IN decorative works Vrubel demonstrated the versatility of his talents, combining painting itself with architecture, sculpture and applied art.

Vrubel’s most significant sculptural work is considered to be the “Gothic” composition “Robert and the Nuns”, decorating the staircase lantern of the Morozov mansion.

In 1894, Vrubel plunged into severe depression, and Savva Mamontov sent him to Italy to look after his son Sergei, a retired hussar officer who was supposed to undergo a course of treatment in Europe (he suffered from a hereditary kidney disease and underwent surgery)

Returning to Odessa in April, the artist again found himself in a situation of chronic lack of money and family quarrels. Then he once again took up majolica, creating the head of the Demon. This work was bought by Artsybushev, which made it possible for Vrubel to leave for Moscow.

In 1895, Vrubel tried to indicate his presence in the general artistic life of Russia. In February, he sent “Portrait of N. A. Kazakov” to the 23rd exhibition of the Itinerants, who was not even allowed to be exhibited. In the same season, he nevertheless participated in the third exhibition of the Moscow Association of Artists with the sculpture “Head of a Giant” on the theme of Pushkin’s poem “Ruslan and Lyudmila”. The description in the newspaper "Russian Vedomosti" favorably listed almost all the participants in the exhibition, and only Vrubel was specifically mentioned as an example of how a plot can be deprived of artistic and poetic beauty.

The way out for Vrubel was to participate in the All-Russian Nizhny Novgorod exhibition, timed to coincide with the coronation of the new emperor, Nicholas II. Savva Mamontov, who oversaw the department of the Russian North, noticed that two large walls were empty in the neighboring pavilion of the art department, and was able to negotiate with the Minister of Finance to occupy this place with large panels. The order for these panels - with a free choice of theme - was transferred to Vrubel.

At the very beginning of 1896, Vrubel from Moscow came to see Savva Mamontov in St. Petersburg, where the Russian premiere of Humperdinck’s fairy tale opera “Hansel and Gretel” was to take place.

The scenery and costumes were ordered from Konstantin Korovin, but he fell ill, and his order went to Vrubel. So at the rehearsal, Mikhail Alexandrovich first heard and then saw Nadezhda Ivanovna Zabela, playing the role of sister Gretel.

Vrubel proposed marriage to Nadezhda Zabela almost on the day they met. (he is 40 years old, she is 28) Nadezhda Ivanovna knew that “Vrubel drinks, that he is very disorderly with money, wastes it, and earns it rarely and by chance,” nevertheless, the wedding soon took place - in Switzerland - in the Holy Cross Cathedral of Geneva. The young couple spent their honeymoon at a boarding house in Lucerne. There Vrubel continued to work on the panel for Morozov's Gothic office - by the time of the wedding he was literally left without a penny, and walked from the station to his betrothed.

In the mid-summer of 1900, the Vrubels learned that Mikhail Alexandrovich had been awarded a gold medal (for the fireplace “Volga Svyatoslavich and Mikula Selyaninovich”) at the World Exhibition in Paris. In those same years, Vrubel was invited as an artist to the Dulyovo porcelain factory. His most famous work on porcelain painting is the “Sadko” dish.

On September 1, 1901, Nadezhda Vrubel gave birth to a son named Savva. The birth of a son led to a drastic change in the family’s lifestyle: Zabela-Vrubel gave up being a wet nurse and, for the sake of her son, decided to leave the stage for a while. The maintenance of his wife and child fell entirely on the shoulders of Mikhail Alexandrovich, and already from September - October 1901 he gradually fell into depression, while simultaneously increasing the number of working hours.

The artist’s excited state forced his relatives to take him to the famous psychiatrist Bekhterev, who diagnosed “incurable progressive paralysis” (in modern terminology - tertiary syphilis). Mikhail Alexandrovich himself was not told anything, and he went to Moscow.

In the capital, he felt even worse, despite the fact that the painting “The Defeated Demon,” painted by that time, was bought by the famous collector Vladimir von Meck for 3,000 rubles. Vrubel went on a spree, drank, squandered money and easily lost his temper for any reason. The wife and son tried to escape from the insane husband to relatives in Ryazan, but he followed them. In early April with symptoms of acute mental disorder Mikhail Aleksandrovich Vrubel was hospitalized in the Savey-Mogilevich private clinic.

His condition improved somewhat by September - he stopped rowdy, became polite - and it was decided to transfer him to the Serbsky Clinic at Moscow University.

Serbsky confirmed Bekhterev's diagnosis - “progressive paralysis due to syphilitic infection”; the infection occurred back in 1892.

The prognosis was disappointing: further only physical and spiritual degradation. In February 1903, Vrubel was discharged from the clinic. He was lethargic and absent-minded, attempts to take up painting led nowhere. Doctors advised him to be sent to Crimea, but by April his apathy turned into severe depression, and the artist returned to Moscow. Vladimir von Meck invited the Vrubels to spend the summer on his estate in the Kyiv province, which somewhat cheered up Mikhail Alexandrovich and really pleased Nadezhda Ivanovna. On the eve of departure, two-year-old Savvochka fell ill and was already trying to speak. In Kyiv, the disease worsened, and a day later - May 3 - the child died. Vrubel immediately emerged from his apathy and began to actively attend to the funeral, trying to be cheerful and support his wife, who did not utter a word.

Savva was buried on Baikovaya Mountain. Having lost their only child, the couple still went to von Meck, although they clearly did not know what to do next and what to do with themselves. The estate experienced a sharp deterioration mental state Vrubel.

It was decided to take the artist to Riga, where, on the advice of Dr. Tilling, he was assigned to a country institution. Vrubel was in severe depression and wanted to commit suicide, for which he starved himself. On the advice of Serbsky, on July 9, 1904, Vrubel was taken to the Usoltsev sanatorium clinic in Petrovsky Park.

A miracle happened at the clinic: Vrubel demonstrated almost complete rehabilitation. Main role Usoltsev’s methods played a role here, as well as the closeness of his wife and sister, who settled next door at the dacha and saw Mikhail Alexandrovich every day.

In the summer of 1904, Nadezhda Zabela received an engagement at the Mariinsky Opera, but Vrubel could not imagine life without his wife. Usoltsev did not insist on continuing treatment; in August the couple moved to St. Petersburg. It soon turned out that due to the ordeal the singer’s voice suffered; Nadezhda Ivanovna could no longer perform in opera and found herself in the chamber genre. A huge number of Vrubel’s canvases, depicting his wife in various scenes, date back to this period.

On November 28, 1905, Mikhail Alexandrovich was elected academician of painting “for his fame in the artistic field”

IN last years Throughout his life, Vrubel was almost constantly immersed in the world of his hallucinations, which he told others about very figuratively. In the harsh February of 1910, he deliberately stood idle under an open window and provoked pneumonia, which turned into fleeting consumption.

On the eve of his death in April 1910, Vrubel cleaned himself up, washed himself with cologne and at night said to the orderly who was caring for him: “Nikolai, I’ve had enough of lying here - let’s go to the Academy.” Indeed, the next day the coffin was installed at the Academy of Arts.

Nadezhda Ivanovna Zabela-Vrubel died in June 1913 after a concert, she was 45 years old. They buried her next to Mikhail Alexandrovich.

The texture of the canvas, high-quality paints and large-format printing allow our reproductions of Mikhail Vrubel to be as good as the original. The canvas will be stretched on a special stretcher, after which the painting can be framed in the baguette of your choice.

Vrubel was one of the most enlightened people of his time, spoke eight languages, and, in addition to the Academy of Arts, studied at St. Petersburg University in two faculties. Based on the knowledge of myths, legends, epics, he created his own poetic world, full of triumphant beauty and at the same time disturbing mystery, a world with earthly melancholy and human suffering.
This is his “Pan”. Pan's father, Hermes, was originally the god of cattle breeding, the patron of shepherds. He was the first to demand fire sacrifices from people, teaching how to strike fire on the altar. In addition, Hermes accompanied the souls of the dead to hell. But Hermes was also a rogue: he stole a herd of cows from Apollo, and when Apollo invented the sweet-sounding lyre, he exchanged the lyre for this herd.

The mother of Pan was the nymph Dryope, a maiden from a large family of deities. The sanctuaries of the nymphs were located in grottoes, forests, caves... And although their habitats were far from the supreme gods - from Olympus, the nymphs often visited it.
The nymphs led a carefree life: they sang, played, knew how to predict the future, heal wounds and inspire poets. The nymphs died along with the tree, stream, field, lake, flower with which they were born and lived one life.

When the beautiful Dryopa had a son - with goat legs and horns on his head, hairy, with a tail, a crooked nose and a goat beard, she was horrified, she abandoned the child! But Hermes picked up his son and took him to Olympus. The boy was very funny, and he also turned out to be cheerful, for which olympian gods They called him Pan - everyone liked him.

Pan, like his father, became the patron of shepherds, but he did not so much watch over his charges as he had fun with the nymphs. Sometimes he wanted to be alone, and he punished those who disturbed his peace by instilling sudden and strong fear.

It happened that Pan fell in love with the nymph Syringa. He literally pursued the beauty with his love, and Syringa threw herself into the river, becoming a reed! In grief, Pan carved a pipe from a reed and played it so tenderly that the music seemed to flow from the very sky.

Pan did not remain a boby, he got married. But this is only to extend the family, and love forever sank into the river along with Syringa.

In Vrubel’s painting, Pan is depicted at the moment when he had already played his pipe and was thinking about life. Mikhail Alexandrovich portrayed him in his own way: the mythical Pan looks more like a Russian goblin with a round face and cornflower blue eyes; cunning and crafty. Ancient, like nature, bizarre... And the forest around is mysterious, late in the evening, when all sorts of images and visions are born - sometimes bright, sad-tender, sometimes frightening, alarming.

The Russian public did not understand “Pan”. The picture was surrounded by vulgar laughter. Mikhail Alexandrovich behaved stoically:
–– Your denial of me gives me faith in myself.
The famous “Pan” was bought for only 200 rubles – the price of dinner in a capital restaurant. A little later, the enterprising owner sold it to Tretyakov for 5,000 rubles.

Reviews

Vrubel's painting "Pan" was painted in 1899, when the artist was married to singer Nadezhda Zabela-Vrubel, so it is unlikely that he conveyed the tragedy of unrequited love here...)))

In the eyes of Pan there is irony and even mockery, this is very authorial... And at the same time there is a lot of kindness, and Universal kindness... Before creating this picture (on the same canvas!!!) Vrubel painted a portrait of his wife, that’s why her gaze, but more prophetic, is also captured in this image...

Why not? Why shouldn't he free himself in this way from his love for Prahova? After all, it was love-shock, he cut his chest to drown out the physical pain heartache. Poets, artists, musicians, as a rule, are freed from mental oppression through creativity. When it is expressed - in words, melody, brush, it subsides.

Nina, the memory of a cut breast is isolated and very subjective... For me, as a researcher, to believe in this nonsense, I need more substantial evidence than the memory of one person... Mikhail loved very many, not considering moths to be sinners..)) ) Yes, his love for Prahova brought him a lot of suffering, but he passed on this suffering to tragic images, and not in this, as you correctly noted, good-natured look... And all the personal suffering of the Creators is nothing compared to creative suffering...