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| Artist Zinaida Serebryakova. Life in pictures. The forbidden love of a brilliant artist (Zinaida Serebryakova) Works by Zinaida Serebriakova |
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After visiting the long-awaited exhibition of Zinaida Serebryakova in the Engineering Castle of the Tretyakov Gallery, I am sharing my impressions. More than two hundred works by the artist from Russian and French collections are presented here, some of which came to Russia for the first time. These are mostly paintings written in exile after separation from children and trepidation at the upcoming unknown. Her works amazingly combined modernity and a subtle adherence to classical traditions; art critic Dmitry Sarabyanov wrote about Zinaida Serebryakova as a sublimely dreamy artist, calm, detached from the worries of time, turned to the beautiful past.
The themes of the paintings at the exhibition are very diverse: landscapes (Russian, Moroccan, European), original scenes from peasant life, charming and touching portraits of children, which are exhibited both in the main collection and in a separate room, the so-called Children's; portraits of loved ones, acquaintances, genre scenes and so on. Remembering that I have many non-Muscovite friends, I tried to choose for you not the most famous paintings.
The revolution brought only troubles: first, their house was burned along with the library, many drawings and canvases, and two years later, husband Boris Serebryakov died of typhus. Having suffered greatly in the country of the Soviets, in search of work, Zinaida Alexandrovna was forced to leave for Paris in 1924, becoming a first-wave emigrant with a difficult, but at the same time wonderful fate. Younger son and her daughter left with her mother; she was able to meet her elders only forty years later.
Moroccan motifs occupy a significant place in Serebryakova’s work. She visited this country twice. Morocco fascinated the artist; its extraordinary color inspired her. A whole series of works was painted here, mostly portraits. To present these works at least superficially, even my rather succinct posts are not enough) The exhibition of paintings in Paris was a resounding success, but Zinaida Evgenievna did not manage to sell a single work. She was a great artist, but a bad manager.
M. B. Meilakh. Children of Serebryakova (conversation with Ekaterina Serebryakova) I first visited the Serebryakovs' Parisian studio, which strangely preserves the St. Petersburg atmosphere (it reminded me of Braz's studio apartment opposite New Holland, with the same floor-to-ceiling windows - during my youth, organist Isaiah Braudo and his family lived there) at the beginning of 1990 's, during the life of Alexander Serebryakov. It was strange to think that he and his sister Ekaterina Borisovna, both of advanced years, were those lovely little ones with everything famous paintings Zinaida Serebryakova, their mother, who gave them eternal childhood. To this day, the studio houses many of the artist’s Parisian paintings, among them, again, children’s portraits of people whom I knew in Paris when they were no longer young. Serebryakova’s paintings, alas, were not appreciated for too long and only in last years suddenly reached record valuations, which allowed Ekaterina Borisovna, having sold only a few things, to continue, with the help of friends, the long-begun work of systematizing the art archive of her mother and recently deceased brother, and organizing their exhibitions. Having visited her again recently, I was able to add to our long-standing conversation. - If possible, let's start from the beginning. Your famous mother, artist Zinaida Serebryakova, also comes from a family of artists - Lanceray and Benois... Yes, and dad is her cousin, so it's the same family. And all are immigrants from France. The Serebryakov surname is Russian, and the roots of the whole family are French. But both families, Lanseray and Benois, lived in Russia for many years and, as artists and architects, left a big mark on culture. Then well-known events happened - a revolution that deprived us of the opportunity to live in Russia. But our house still stands in St. Petersburg - next to the St. Nicholas Cathedral and the Mariinsky Theater, it is even called the “Benoit House”, a memorial plaque was recently hung there. But I grew up already in the revolutionary years... - Please tell us about it. I don’t remember myself as a child, nor do I remember our Neskuchny estate in the former Kursk province (now Kharkov region), but we have photographs from which my brother later painted a picture. I am now corresponding with Ukraine, because they want to create a museum there, they have even opened a small museum in some house, although there are only photographs of my mother’s works and old photographs of these places. But it’s gratifying that Ukrainians are doing this. Mom’s works ended up in all the main Ukrainian museums - in Kyiv, Kharkov and Odessa, and these are very good things - her name is also known and appreciated there. And in Siberia, after the exhibition in Novosibirsk in 1966, she is also known and remembered - I have extensive correspondence with all the museums that have her works. - When are your first memories? The estate in Neskuchny, near Kharkov, as I already said, I hardly remember. During the first revolutionary years, my father worked in Siberia, he was building a railway there, so my mother remained in Neskuchny alone with four children and grandmother Ekaterina Lanceray, her mother; grandfather died very early, also leaving big family. Previously, our peasants treated us well, they respected us, the mother of these peasants painted - there are a lot of such works, and it was their photographs that the Ukrainians exhibited in their small museum. However, during revolutionary events that didn't stop them from destroying everything. Until very recently, there was still a church that belonged to the estate, but now they wrote to me that the church no longer exists. Perhaps it was not possible to preserve it due to dilapidation - churches now seem to be no longer being destroyed. So, when the revolution happened, we first moved to a farmstead, since there was nothing to heat the house with, and then the peasants warned us that we had to leave, because if we stayed on the estate, they would slaughter us all. We moved to Kharkov, where my mother rented a small apartment; the windows looked out onto such a green courtyard with many trees - they recently sent me a photograph of the house where we lived, and even our window. But I was still very small then - I was born in June of the thirteenth year. I am the youngest in the family, I had an older sister and two older brothers - Evgeniy and Alexander. Alexander became an artist - here in Paris, and Evgeniy became an architect - there in Russia. He built a lot: I have correspondence, photographs. In the twenties, all Russian artists had to decide what to do, how to live further. Many began to leave abroad. Alexander Benois left with his family, his older brother Albert also left. (Albert is a wonderful artist; he was such a wonderful watercolorist that even the Emperor himself came to watch him work; my brother studied with him. Albert, like Alexandre Benois, was, in addition, theater artist-director.) A lot of people left, and my mother didn’t know what to do. There was no money - dad died in 1919, very early. - Why did he die so young? He was on research in Siberia and after the revolution returned to Moscow, where the Bolsheviks put him in Butyrka. When he was released, he wanted to quickly return to his family and was forced to travel in terrible conditions: although according to his position he was entitled to a first-class ticket, he took the one that was given to him. And then a terrible typhus epidemic raged. And, obviously, in the cramped conditions of the carriage, he contracted typhus and died a few days later in Kharkov in his mother’s arms. There, in Kharkov, he is buried. Mom was left alone with four children and a mother. What was to be done? We knew that our apartment on the First Line in St. Petersburg had been looted, but my mother still decided to go there, to our nest. When we arrived, it turned out that our apartment no longer existed, but there was Benoit’s house on Glinka Street - some offices were set up there and they moved out. Benoit - Alexander and Albert - continued to live in this house, but became vacated former apartment grandfathers in the mezzanine, and we were able to move in. This apartment was also plundered, but it was large, with many rooms, and other people related to art were also settled there. The artist Dmitry Bushen and the art critic Ernst lived there - they served in the Hermitage. My mother’s brother Nikolai lived in an apartment at the Russian Museum - he served there. But everything was ruined, and the Benois moved abroad. Mom corresponded with them and after a while she also went to Paris. In her youth she had been to Paris, she was familiar with it, but how to live here? She rented a small, dark room in a hotel in the Latin Quarter. How to draw? At first there weren't even any colors. She couldn’t invite people to her place - it was dark, it was impossible to write, so she had to go to work with customers. There was no money - she sent all the money to the family, she had to feed five people: me, my two brothers, my sister and my grandmother. And Evgeny Lansere also helped his grandmother, his mother, a little. Mom went alone, hoping that she could make money with portraits - after all, it was a large Russian colony - and then gradually get her family discharged. She made portraits of people from high society; I don’t even have photographs of all the works - my mother didn’t take pictures then. The first - in 1925 - she signed up her brother Alexander, who was still very young, but was already a good painter. And here he became an artist. When Nikolai Benois made the scenery for Paris Opera, his brother helped him. They worked in opera workshops, which were located in old barns on Porte de Clichy, and Nikolai taught him how to make layouts and paint backgrounds: first the horizon line is written, then the perspective is built. Then Nikolai went to Italy, where he became the main artist La Scala, and his brother began working for cinema, where P. N. Schildknecht invited him (he later published an art magazine in Madrid, where he signed his articles “Escudero”). Many Russian artists and architects worked in cinema at that time - by the way, sets for silent black-and-white cinema were often not built, but painted. My brother made layouts and wrote backgrounds, perspectives of what is seen through open windows and doors. He had to paint exotic Mexican landscapes and China, and for the film Les bateliers de la Volga with Chaliapin - Volga. This film was shot in the Gironde: there are flat landscapes and flat banks of the Garonne River, and my brother converted the barges there into Volga barges. When the war started, they stopped making films, and my brother worked on applied arts, for example, he made drawings for lampshades with views of cities - Paris, Venice, New York - with images of ancient caravels or flowers, and designed display windows for Russian stores, of which there were many at that time. He worked for more than half a century For fashion stores, collaborating with Trois Quartiers and Maison Delvaux. He also collaborated in Russian publications, for example, the font of the title of “Russian Thought”, a Parisian newspaper that has been published in Paris for more than half a century, is his; and I made posters for Lifar. (After Lifar’s death, by the way, he replaced him as chairman of the Society for the Preservation of Russian Cultural Treasures Abroad.) He also illustrated books, including publications of an antique company Maison Popoff. Subsequently, he made a stamp for the millennium of the Baptism of Rus'. For exhibitions in the Museum decorative arts my brother made very beautiful maps, for example of French colonial possessions or antiquities Latin America. But he also painted old Paris, and he was not at all moved when onlookers stopped and watched him work. Some of the neighborhoods he painted no longer exist - for example, the one where the Pompidou Center now stands. In general, he was a jack of all trades, and most importantly, a very good artist, I have a fair amount of his works. It would be nice to send some of them to Russia, but here it is more interesting - let them keep it here. I think it's important to preserve the memory of a family of artists. I also drew - and still draw - and could help my brother. My specialty is miniature painting. Mom, in essence, was a sick person - few people had such a hard life as she did. But she continued to paint, not only portraits, but also landscapes. - What year did you arrive? I arrived only in the twenty-eighth. - Only in the twenty-eighth... How was your life in Russia without your mother? We lived with my grandmother and loved her very much. After I left, my brother, sister and grandmother still remained in Russia. In Russia we also had hard life. Grandmother was already at a respectable age, she could not work... Although she also drew wonderfully - the whole family painted... We still lived in the “Benois house”, on the mezzanine. My sister was placed in a ballet school - they thought it was better: they studied French there, after school graduates got the opportunity to work in theaters... And I am the youngest, and I was sent to the 47th Soviet school; I walked there past a very beautiful famous building - New Holland. There was no French language there - they studied German. With the help of the Red Cross, my mother decided to also discharge me, my youngest daughter, in order to make life a little easier for the already very elderly grandmother. I was traveling through Berlin - we had relatives there, Benois, who met me and put me on a Parisian train. When I arrived, my mother rented a small apartment with three rooms - for herself, for me and for my brother Alexander. It was very cramped there, and the ceiling was so low that you couldn’t even set up an easel properly. And my mother also loved to write big things. It was very difficult to work: mom works, Shura works, and then there’s me... And for customers, especially from high society, it’s too far away, the outskirts of Paris. Porte de Versailles the place itself is not bad - there are good “bourgeois” houses there, our apartment was on the sixth floor, and there was a beautiful view from the windows - the outskirts were not yet built up, as they are now. Many lived there famous artists- not only Russians, but also French, and all sorts of others. But still, it was the outskirts, and most importantly, it was very cramped and impossible to paint: “a non-artistic apartment,” so we also rented a small workshop in a neighboring house. And soon they rented a studio in Montmartre, where many artists lived, on rue Blanche; there you had to first pass through the courtyard, then climb the non-grand staircase; besides, there was only one small room for my brother, so that was no good either. But my mother worked a lot there too - she went to all her famous customers... During the war, in 1942, we moved here to Montparnasse - the artist Sergei Ivanov advised us to rent a vacant studio on the third floor of this house, where many Russian artists lived. We are now in another workshop - that one was better, bigger, and in this one the balcony takes up a lot of space. The war found us here. I saw troops passing under the windows. But we didn’t move anywhere, we stayed here in Paris. So what to do? And so continuous ordeals... - The war probably had its difficulties? Yes, sure. During the war, everything was distributed on ration cards; nothing could be freely purchased. And most importantly, we were not yet French - many people who did not take care of this, hoping to return to Russia, found themselves without reliable papers during the war. It’s good that brother Shura wasn’t taken away... And after the war, all three of us received French citizenship. Then we had to, in order not to move, buy a workshop here and sell it right away en viager, that is, the owner buys it cheaper, but will be able to use it only after the death of the old owner - and due to this, pay money for it. It was bought by a Frenchman who has nothing to do with art - he simply decided to make a profitable investment. He probably hoped that I would die soon and he would be able to sell this workshop again - for a lot of money. But, as you can see, I’m still living, although I’m almost ninety. We all lived here together - mom, me and brother. The paintings you see here were hung by my mother. She died in sixty-seven... - Can I ask you a strange question? I have known your mother’s self-portraits since childhood, and as far as one can judge, she was an absolutely charming woman. But what kind of character was she - easy? Yes, very easy, but she was shy. And the main thing for her was work. As for all of us. To do everything we did, you first needed to be very good at drawing. My brother's works are wonderful drawings... - What is the fate of your sister and brother who remained in Russia? The older sister - she had already died - married the theater artist Valentin Nikolaev and lived in Moscow. She graduated from the ballet school in Leningrad, but did not dance, but also became a theater artist, working with Vladimir Vasiliev. She has two sons: one of them died early, and the second, my nephew Ivan, is an artist. He recently came here, painted Paris... My sister published my mother’s letters that she wrote to Russia. And the older brother Evgeniy became, as I already said, an architect. He lived in St. Petersburg and died there recently. - Tell me, when you came to Paris after Soviet school - you were already fifteen years old, - Was it a bit of a shock? Shock? No, I came to see my mother. True, they sent me to special school where they trained French and where only foreigners studied. I sat there next to an English woman with whom I became friends for life. She recently died. My mother and I also traveled to England - she had orders there, but mainly to Belgium, where there were more orders. There was a large exhibition of Russian art, and, according to stories, the king stopped in front of my mother’s painting. The Belgians probably thought: since the king stopped... One rich Belgian businessman ordered portraits of his mother and his wife. He lived in Bruges, he had a luxurious house with a garden there. And then he sent his mother to Morocco, where he had business interests - he owned palm groves. He convinced my mother that she should go: “There are such colors, such interesting types! I'll pay your way." Mom went and painted many paintings, which we still have today. And this patron took the best things for himself - there was an exhibition of these works in Belgium. And these rich people invited me to their place, I lived in their family, painted... I know Belgium - Brussels, Bruges, Ostend... And my brother also visited Belgium and painted there. My brother is a wonderful watercolorist, the Rothschilds released an album of his works, called Alexandre S?rebriakoff. Portraitiste d'int?rieurs. And I helped him finish things so that he wouldn’t waste extra time on the faces of the Rothschilds. However, they also knew me as an artist. - Nikita Lobanov says that your brother painted the interiors of almost all important houses in France... Well, that's an exaggeration. But we worked in this environment and knew it: the president of the Coty company, the family of the Duke de Brisac... - How did he start painting interiors? Polovtsev, a famous Russian antiquarian in Paris, recommended his brother to Carlos de Bestegui, with whom he had studied at Eton. Carlos came from a Spanish family that had rich art collections, some of which his uncle donated to the Louvre. Three or four years before the war, Carlos bought the estate and rebuilt the castle with the participation of the Russian architect Kremer, who committed suicide shortly after the occupation. He decorated this castle with great taste, but also with incredible luxury - original tapestries, antique furniture - and his brother was invited to sketch these interiors. Since he was not only an excellent draftsman, but also possessed the skills of architectural perspective, it turned out very well. - Two years ago this estate was sold at auction - the sale was arranged by Sotheby’s; everyone went there to admire the artistic treasures... Then de Besteguiy invited his brother to sketch the interiors of his parents' mansion on Place des Invalides, which he inherited. In 1951, my brother made sketches of a ball in his Venetian mansion - Palazzo Labbia with paintings by Tiepolo, and frescoes from the 18th century on the subject Fantèmes de Venise restored from ancient engravings by Salvador Dali. The ball was dedicated to the theme “Antony and Cleopatra”. My brother also painted interiors in the spirit of the 18th century in a mansion in Neuilly that belonged to the wealthy Chilean Arthur Lopez Vilschau. Then it was sold, and now there is a museum there, and in the hall there is a model of the mansion made by my brother. Another famous 17th century mansion now owned by the Rothschilds is Hôtel Lambert on the Ile Saint-Louis in Paris, decorated by Lebrun. - Both Voltaire and Rousseau lived in it... After the revolution, it housed a wine warehouse, then a hospital, and from the mid-19th century it belonged to the Czartoryski princes. Another interesting house that my brother painted is the Counts de Beaumont on rue Masseran behind the Invalides Square; After the war it was bought by the Rothschilds, and now the Ivory Coast embassy is there. - Rostislav Dobuzhinsky told me that he restored the interiors of this mansion. Did your brother have to live in these houses to paint his watercolors? Yes, if it was not in Paris, my brother and I were invited, and we stayed there for some time. And when my mother and I went to England, she painted portraits there, and I painted England - but not London, but the rich country estates of our customers. For some time we lived with our cousin: our grandmother’s sister married a rich Englishman, Edwards, and these were their relatives, woolen manufacturers, and they ordered their portraits from my mother. In England we still have relatives on the Benois side, but they are poor people. Thus, we had certain special periods of life and work - English, Belgian... - Who did your brother study with? Mom? Almost no one has. Not my mother, not anyone. None of us studied with anyone, and Mom didn’t study with anyone. We all draw from childhood. As soon as a child is born, he is given a pencil and he begins to draw. Both my mother and brother are real artists, and they always tried to make real things, and not what is fashionable. Nowadays only new art is honored. But there is no new and old art - there is only art. 1990–2002 Paris (Russian Thought. Paris, 2003. February 27-March 5. The full version of the interview is being printed, kindly provided by the author M. B. Meilakh) This text is an introductory fragment.CHAPTER 16. SORRY. CONVERSATION WITH BORIS' MOTHER. CONVERSATION WITH MARINA Winter was beginning. I rarely saw Boris. Whether it was because our relationship didn’t take any form at all, or because dad returned from abroad, but I, not understanding Boris to the bottom, didn’t want to upset dad The king wants to divorce Queen Catherine If the obstacles in the person of Sir Henry Percy and Mary Boleyn were quickly removed, then destroying the royal marriage, sanctified by the church, turned out to be much more difficult. “Don’t disgrace my child!” - the queen wrote to Henry VIII, who Autobiography of Z. E. Serebryakova (I answer questions).1. I was born in our estate “Neskuchnoe” (Kursk province of Belgorod district) on December 12, 1884 (For a long time, an error crept in in indicating the year of my birth - it was marked 1885, m. b. because I was born in T. B. Serebryakova Childhood of Zinaida Serebryakova When I pick up the album in which my grandmother pasted children's drawings of her daughter, the future artist Zinaida Evgenievna Serebryakova, I remember her stories about children and their lives. Much of what surrounded early years D. V. Sarabyanov. About the self-portraits of Zinaida Serebryakova Often, critics, wanting to praise a female artist, utter sacramental words about her “male hand.” Even Alexander Benois called the works of Zinaida Serebryakova “courageous.” Meanwhile, it seems to me that the most E. Dorosh. At the Serebryakova exhibition<…>Artists usually reproach writers for the so-called literary approach to the art of painting, and although this accusation is not without foundation, although it seems to me that painting, unlike other arts - for example, A. P. Ostroumov-Lebedev about the work of Z. E. Serebryakova<…>A member of our society (“World of Art.” - A.R.) was also the wonderful artist Zinaida Evgenievna Serebryakova, born Lanceray. She, living for several years in the village, on the small estate “Neskuchnoe” E. G. Fedorenko. Family of Z. E. Serebryakova<…>When Zinaida Evgenievna was still a girl, all of them - she, her sisters and brothers - loved to ride horses, loved to stage some kind of funny “performances”. One evening in the summer (it was harvesting - E. B. Serebryakova about her mother (in connection with the opening of an exhibition of works by Z. E. Serebryakova at the Russian Embassy in Paris in 1995) Mom left Russia and settled in France, in Paris, in 1924. It was very difficult for her financially. In 1925, her brother came to see her, and in 1928, I did. N. Lidartseva. In the studio of the artist Zinaida Serebryakova The other day I had the opportunity to visit in her studio this wonderful Russian artist, whose exhibitions were once famous in Paris, in the largest exhibition galleries, but who, unfortunately, continues to work, The main dates of the life and work of Z. E. Serebryakova 1884, November 28 (December 10) - birth in the Neskuchnoye estate of the Belgorod district of the Kursk province (now the Kharkov region of Ukraine) in the family of the sculptor Evgeniy Aleksandrovich Lansere and his wife Ekaterina Nikolaevna New meeting with Ekaterina Sushkova December 4, 1834 Lermontov at a ball at “Mrs. K.” again, after a long separation, he met with E. A. Sushkova. He is no longer a teenager in love, he is a hussar. He knows about the romance between Sushkova and Alexei Lopukhin; he starts his own Faina became friends with Ekaterina Geltser right away. They turned out to have an amazing kinship of souls, and even in their directness and eccentricity they were very similar to each other. Geltser was smart, caustic, witty and had a habit of calling things by their proper names. It was shocking TRIP TO RUSSIA. CONVERSATIONS WITH CATHERINE II, OR REJECTED UTOPIA During the years of his career as an Adventurer, Casanova truly became an eternal wanderer. Compared to him, even Italian comedians, the most restless tribe of that time, could seem like homebodies. Journey Letters from P. N. Filonov to E. A. Serebryakova 1Leningrad. August 6, 1937. My good, bright darling Katyusha! Thank you for making me happy with your letter. I saw you in it as if alive. I imagined how you walk along the steep banks of the Siversky, sit in the forest, collect under the pine trees The meeting with Catherine at the Battle of Zorndorf became a turning point in his life for Grigory Orlov. As already mentioned, the Russians captured the aide-de-camp of the Prussian king, Count Schwerin. It was necessary to deliver him to St. Petersburg to the court. The path lay through Koenigsberg, Zinaida Evgenievna Serebryakova is a famous Russian artist. appeared a prominent representative association of artists "". She is also known as one of the first Russian women to go down in the history of Russian painting. Zinaida Serebryakova (before her marriage - Lansere) was born on December 12, 1884 in the village of Neskuchnoye in the Kharkov province. Since childhood, she has been surrounded by creativity and art. The fact is that Zinaida Evgenievna was born into a family that was famous for its real talents in various types creativity. Her grandfather was the famous architect Nikolai Benois (1813-1898). Famous sculptor There was also Zinaida’s father - (1848-1886). Zinaida also had a sister, Alexandra Benois, who was engaged in graphics, a brother, Nikolai, an architect, and a brother, Evgeniy, a graphic artist and painter. It is worth noting that the line of talented sculptors and artists did not end with Zinaida Serebryakova. Daughter Evgenia became an architect and restorer, son Alexander became a famous designer and artist, daughter Tatyana became an Honored Artist of the RSFSR, daughter Ekaterina became an artist. Zinaida Lansere graduated from the women's gymnasium and art school. She was a student of the famous painter Osip Emmanuilovich Braz (1873-1936). She also studied at the Parisian Académie de la Grande Chaumière. In 1905 she married railway engineer Boris Serebryakov. The art of the artist who glorified Russian painting is very soulful and warm. With the help of her creativity, she tried to convey to the viewer the beauty of the Russian land and Russian culture. She also traveled a lot. In 1924 she went to Paris and for a long time could not see her children. The first time after separation she met her daughter only 36 years later in 1960, when the Khrushchev thaw began. She died in Paris on September 19, 1967. Currently, her paintings are in collections of such major museums, like: Odessa Art Museum, Russian Museum, State Tretyakov Gallery. Do you want to decorate your home with a piece of art or make beautiful gift? In the Portrait Workshop you can order an oil portrait from a professional artist. High quality and fast turnaround times. Zinaida Serebryakova paintingsSelf-portrait dressed as Pierrot
Self-portrait of Zinaida Serebryakova in a white blouse
Self-portrait with daughters
Ballerinas in the restroom
Whitening canvas
Brittany. The town of Pon-l Abbe. Port
Bakery from Lepik Street
In the dressing room
Girl with black braids
Girl with a candle
Elena Braslavskaya
At breakfast
Behind the toilet. Self-portrait Recently, the Nashchokin House Gallery hosted an exhibition dedicated to the 125th anniversary of the famous artist from the Benois family, Zinaida Serebryakova. Behind the toilet. Self-portrait.1908-1909. Tretyakov Gallery The most important of these works was “Whitening the Canvas” (1917, State Tretyakov Gallery). The figures of peasant women, captured against the sky, acquire monumentality, emphasized by the low horizon line. During the Khrushchev Thaw, contacts with Serebryakova were allowed. In 1960, after 36 years of separation, her daughter Tatyana (Tata), who became a theater artist at the Moscow Art Theater, visited her. In 1966, large exhibitions of Serebryakova's works were shown in Moscow, Leningrad and Kyiv. Suddenly she becomes popular in Russia, her albums are printed in millions of copies, and her paintings are compared to Botticelli and Renoir. The children called her to return to Russia. However, Serebryakova finds it inappropriate to burden children and loved ones with worries about themselves at such an advanced age (80 years old). In addition, she understands that she will no longer be able to work fruitfully in her homeland, where her best works were created. In October 2007, the Russian Museum hosted personal exhibition“Zinaida Serebryakova. Nudes" "Bath". 1926 Reclining nude. And now we just admire her paintings: Still life with a jug. Self-portrait. Self-portrait with scarf 1911. Serebryakov Boris Anatolievich. Lansere Olga Konstantivna. Old lady in a cap. Brittany Self-Portrait (1946). Benois Alexander Nikolaevich (1924). Balanchine George (in costume as Bacchus, 1922). Benois-Clément Elena Alexandrovna (Elena Braslavskaya, 1934). Lola Braz (1910). Scenery. The village of Neskuchnoye, Kursk province. Paris. Luxembourg Garden. Menton. View of the city from the harbor. Menton. Velan Ida (portrait of a lady with a dog, 1926). HER. Lancer in a hat 1915. Lifar Sergey Mikhailovich (1961). Lukomskaya S.A. (1948). Well, many of you see this all the time Yusupova Irina Alexandrovna (princess, 1925). I already made a post about . But in connection with the exhibition currently taking place at the Nashchokin House Gallery dedicated to its 125th anniversary, I cannot help but rewrite it. Behind the toilet. Self-portrait.1908-1909. Tretyakov Gallery The most important of these works was “Whitening the Canvas” (1917, State Tretyakov Gallery). The figures of peasant women, captured against the sky, acquire monumentality, emphasized by the low horizon line. During the Khrushchev Thaw, contacts with Serebryakova were allowed. In 1960, after 36 years of separation, her daughter Tatyana (Tata), who became a theater artist at the Moscow Art Theater, visited her. In 1966, large exhibitions of Serebryakova's works were shown in Moscow, Leningrad and Kyiv. Suddenly she becomes popular in Russia, her albums are printed in millions of copies, and her paintings are compared to Botticelli and Renoir. The children called her to return to Russia. However, Serebryakova finds it inappropriate to burden children and loved ones with worries about themselves at such an advanced age (80 years old). In addition, she understands that she will no longer be able to work fruitfully in her homeland, where her best works were created. In October 2007, the Russian Museum hosted a personal exhibition “Zinaida Serebryakova. Nudes" "Bath". 1926 Reclining nude. And now we just admire her paintings: Still life with a jug. Self-portrait. Self-portrait with scarf 1911. Serebryakov Boris Anatolievich. Lansere Olga Konstantivna. Old lady in a cap. Brittany Self-Portrait (1946). Benois Alexander Nikolaevich (1924). Balanchine George (in costume as Bacchus, 1922). Benois-Clément Elena Alexandrovna (Elena Braslavskaya, 1934). Lola Braz (1910). Scenery. The village of Neskuchnoye, Kursk province. Paris. Luxembourg Garden. Menton. View of the city from the harbor. Menton. Velan Ida (portrait of a lady with a dog, 1926). HER. Lancer in a hat 1915. Lifar Sergey Mikhailovich (1961). Lukomskaya S.A. (1948). Well, many of you see this all the time Yusupova Irina Alexandrovna (princess, 1925). |
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