A certificate from the educational institution with the obligatory indication of the faculty is presented. The door was broken in the Tretyakov Gallery, the secret of the girl with peaches and "nothing changes" Girl with peaches short description

This picture is known even to people far from art. It's 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 a tragic fate awaited her family.

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

The estate in Abramtsevo was a real home of creativity: Turgenev, Antokolsky, Surikov, Korovin were guests here. Vera Mamontova was painted by many artists who visited Abramtsevo: 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 artists' desire to paint her in this way: "It was the type of a real Russian girl in character, beauty of her 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 of which one could see Abramtsevo Park with an alley named Gogol in honor of the writer who once loved to walk here. In the next room - the Red Drawing Room - writers and artists often gathered.

Serov gave the picture 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 "The Girl with Peaches" they started talking about Serov, and soon he became one of the most fashionable portrait painters. But what was the fate of Vera Mamontova herself?

Vera married Alexander Samarin, leader of the Moscow nobility, Minister for Church Affairs. The wedding took place in the church of Boris and Gleb, later destroyed by the Bolsheviks. Now in its place, near 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. In 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. In Soviet times, the temple was devastated and used as a warehouse. Now it has been restored again. The husband of Vera Mamontova was exiled to the camp in the 1920s, and their daughter Liza 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 in a step away from madness is a prime example of this.

Vera Mamontova in a home performance in the costume of Joseph. 1880
He wrote with difficulty: at first, he barely persuaded Savva's daughter, 11-year-old Verochka Mamontova, to pose, and then with difficulty kept her at the table - sitting for hours in the heat, not moving, she did poorly.
But the portrait worked.

He became not only one of Serov's best paintings, but also one of the most famous portraits in Russian painting.
No one believed that this unknown artist was only 22 years old.
"Girl with Peaches" - the beginning of the glory of Valentin Serov, his starting point.
And what was the fate of the girl?

"The Girl with the Maple Branch" V. Vasnetsov, 1896
Vera married A.D. Samarin in the same dress

Nine years after The Girl with Peaches, another portrait of Vera was painted by Viktor Vasnetsov, promising to give it to her only if she marries a Russian.

Soon, the gift was already hanging over her husband's desk: Vera married Alexander Dmitrievich Samarin, the future chief prosecutor of the Holy Synod (Minister for Church Affairs) and marshal of the nobility of the city of Moscow.
His popularity among Orthodox Muscovites was so great that when a metropolitan was elected in Moscow in the summer of 1917, among the candidates were: Archbishop Tikhon of Yaroslavl (later elected Patriarch) and layman Alexander Samarin.

They got married in Moscow on Povarskaya in the church of Boris and Gleb - this was the parish of the Samarins, who lived nearby. Later, the Bolsheviks destroyed the church, now there is a chapel on this site - right next to the exit from the Arbatskaya metro station.

Everyone rejoiced for them - the young had loved each other for a long time, but they could only get married after the death of their father Alexander Dmitrievich, who for many years did not agree to his marriage to Vera.
The newlyweds settled in their estate near the village of Averkievo, Pavlo-Posad district. And in April 1904, the Samarins had their first child, Yurochka.

Vera Savvishna Samarina (Mamontova) with her son Yuri, 1904.

In August 1905, the daughter Liza was born, in May 1907 - the second son, Sergei.
And on December 27, 1907, Vera Savvichna died suddenly from transient pneumonia. Burned out in three days. We gathered for Christmas with the whole family in Abramtsevo, stopped in transit at their Moscow house on Povarskaya and ...

She was buried in her beloved Abramtsevo, near the Church of the Savior Not Made by Hands.
Vera was only 32 years old.

Her sister Alexandra Savvishna took care of all the children. Here it is in the photo, first on the left. Next to Savva Mamontov with Vera's children - Seryozha, Lisa and Yuri. Italy, 1910

Church of the Life-Giving Trinity in the village of Averkievo, architect Bashkirov .

In the 1930s, the temple was closed and looted, and throughout the years of Soviet rule it was used as a utility room, including storage of various chemical fertilizers. Now, thanks to the efforts of parishioners, sponsors and patrons, the temple is almost restored.

Alexander Dmitrievich himself died in the Gulag in 1932.
All the years of the Yakut exile, his daughter, Liza, spent with him.

Picture painted: 1887
Canvas, oil.
Size: 91 × 85 cm

Description of the artwork "Girl with peaches" by V. Serov

Artist: Valentin Alexandrovich Serov
Name of the painting: "Girl with peaches"
Picture painted: 1887
Canvas, oil.
Size: 91 × 85 cm

V. Serov grew up in a creative environment where the talent of his composer father A. Serov flourished. By the way, the parent himself liked to stand at the easel, and the boy had the opportunity to take painting lessons from I. Repin himself. The atmosphere of creation and the constant presence of the "stars" of art of that time in the house were familiar to the future artist, so he did not even dream of fame, because he was used to it.

The father had the opportunity and means to send his son to master the intricacies of painting in Paris, and later - in Abramtsevo. There, in the estate of the philanthropist and industrialist Savva Mamontov, delicious peaches grew, Vera's daughter played, and such artists as Polenov, Repin, Vasnetsov and Ostroukhov visited.

The painting "Girl with Peaches" appeared from under the brush of Serov, quite by accident, like everything unique. Verochka Mamontova was a favorite not only of her relatives, but also of numerous representatives of Bohemia, taken under the wing of her father. He was a lively, restless and sociable child, whose immediacy was hard to resist. But even then Serov was treated ambiguously. Some said that his work was not art at all, but the PR of Mamontov, who was familiar with his father, some argued that his canvases were too traditional and realistic, but later critics and art critics started talking about an innovative approach that rejected the routine laws of painting that time.

No matter what anyone thinks, Serov painted a portrait of Vera Mamontova at the age of 22. He was only 10 years older than the heroine of his picture, and all the people visiting Savva were simply surprised how he managed to keep the girl in place. The work was named simply and concisely - "V.M." and became a discovery at the exhibition of 1887, which amazed absolutely everyone. The public of our days still cannot figure out who the artist depicted - a captivating woman or an early matured girl, because this portrait was already considered impressionistic then - there is too much light and unconscious semi-childish freshness in it. It is the last factor that has not let go of the audience for more than a hundred years, it is the garden filled with clean air, Vera's restlessness that attracts fans from all over the world.

The most difficult thing in Serov's work was to keep Vera in one place. He recalled that he worked on the picture for a very long time, trying to write out the details, but it seems to the viewer that it was written in a few seconds. A pink blouse of a dark-skinned girl with a black bow, a white tablecloth and peaches accidentally thrown on the table create a sense of the moment of what is happening. You probably immediately came to mind Repin's Dragonfly, and this is no coincidence - the artist took only the best from the master. The furnishings of an old manor - clocks, chairs, windows - seem not just part of the interior, but part of a summer day outside the window. The delicate color of Verochka's pink blouse is distinguished by lightness and freedom - it seems to be made of the smallest cobwebs. The tablecloth on the table is white only at first glance, because if you look closely, you will see overflows of blue, gold, even dark shades. The light of the sun outside the window not only invigorates, but also fills the room with joy, falls from the windows and fills the entire volume of the room. Its glare glides over the girl's face, which is why there are overflows of mother-of-pearl on the blouse and on the tablecloth.

The whole canvas is a source of life and an example of the upbringing of noble children of those times. The tablecloth was wrapped and neatly laid on top so that the edges do not hang from the chair. Usually they did this if there was a child in the family - it was difficult for him to grab the tablecloth with his hands and pull it towards himself. Such a lapel was occupied by peaches, a knife and a few maple leaves. Most likely, Vera got these things: a knife can cut fruit, and maple leaves are quite capable of replacing plates. There are a lot of peaches - there are always a lot of people in the house, and everyone needs to be treated. The latter is the rule of good manners, which was instilled in girls from intelligent families with mother's milk.

Vera's face cannot be called a traditionally Russian type. It intertwined unusual oriental, or even gypsy features with a typical manner of looking ahead, characteristic of Russians. The latter is not surprising - the girl's mother had Italian roots, and her father to the last was distinguished by true Moscow business acumen. Nevertheless, Elizaveta Mamontova (Vera's mother) did not differ in beauty, but her daughter in the picture is charm and spontaneity itself. Looking at her tousled dark hair and eyes looking to the side, we can say that this girl is an informal leader among the kids. It seems that she just popped into the dining room for a moment to give Serov the opportunity to make a few sketches of the portrait and, grabbing peaches, rush off into the yard. This living child with burning black eyes, tanned in the Abramtsevo sun, seems to affirm life itself.

The impressionistic motifs of the painting can be traced not only in the airy purity of space and the fleetingness of the moment, but also in the play of sunlight, which in a strange way combines with a thoughtfully completed composition. The figure of Verochka is successfully inscribed in the atmosphere of the dining room, it seems quite natural, and light and air fill not only the dining room, but also the world outside the window.

The picture does not leave anyone indifferent - its color is fresh, the image is harmonious, and the artistic images are surprisingly combined with the truth of life. Among the techniques of impressionism in painting, Serov used free vibrating strokes - this is how the play of chiaroscuro was transmitted.

The "Girl with Peaches" got married, gave birth to three children, her marriage seemed successful, and her future life was happy, but ... A year before her mother's death, Vera fell ill with pneumonia and died. She was only 32. The greenhouses, where Mamontov's gardeners grew delicious fruits, were dismantled in 1926, and the estate itself went under the hammer. On the ruins of the building, which saw the greatest creative people of its era, they began to build a bright communist future. The wipe of Vera Mamontova, written by V. Serov, nevertheless, continues to sing the anthem of youth and purity to this day.

Serov Valentin Alexandrovich (1865-1911)

Once the humblest Valentin Alexandrovich Serov reproached in a friendly conversation I. E. Grabar for being the last in his " Introduction to the history of Russian art overrated one of his early works - portrait Verushi Mammoth.

I myself appreciate and, perhaps, even love him, - he said to Grabar. - In general, I think that I have written only two tolerable ones in my life - this one, and even “under the tree” ... All I wanted was freshness , that special freshness that you always feel in nature and do not see in the pictures. I painted for more than a month and exhausted her, poor thing, to death, I really wanted to preserve the freshness of painting with complete completeness - that's how old masters. I thought about Repin, about Chistyakov, about the old people - the trip to Italy had a great effect then - but most of all I thought about this freshness. Never thought about it so hard before...

"was created before the age of twenty-two Serov in 1887, and 25 years later, in 1913, two years after the death of the artist, Igor Grabar wrote in his monograph about Serove:

“There are creations of the human spirit that outgrow the intentions of their creators many times over. It happened that a modest schoolteacher, who for many years sat with his back bent in his closet over some unnecessary manuscript, half a century after his death, turned out to be the creator of a new worldview, the father of a new philosophy, the ruler of the thoughts and moods of the age. He himself did not realize the full significance and value of his work. This is how the most extraordinary discoveries were made, how many great works of poetry, music, sculpture, architecture and painting were created. This amazing Serovskiy portrait. From the study " girls in pink", or " Girls at the table”, he grew into one of the most remarkable works of Russian painting, full of deep meaning picture, which marked a whole strip of Russian culture.

It has been a quarter of a century since the writing portrait, other times have come, and what was, cannot be returned. There is no more in the world and this teenage girl, with such a wonderful, inexpressibly Russian face, that if it weren’t there below Serovskaya signatures, yet one could not doubt for a minute that this was taking place in Russia, in an old landowner's house. One can probably say that this old furniture was not bought from an antique dealer, but it was hardly appreciated then: maybe at times they thought about replacing the “clumsy and uncomfortable old junk” with a fresh and “elegant headset”, but somehow there was no time to mess around - let yourself be worth it. Outside the rustic window you can't see, but you feel the alleys of the park, the sandy paths and all that inexplicable charm that pervades every trifle of the old Russian estate.

In all of Russian literature, I do not know anything that would act on me so strongly as a few lines from Tatyana Onegin's rebuke:

Now I'm happy to give
All this rags of masquerade
All this brilliance, and noise, and fumes
For a shelf of books, for a wild garden.
For our poor home
For those places where for the first time,
Onegin, I saw you.
Yes, for a humble cemetery.
Where is now the cross and the shadow of the branches
Over my poor nanny.

In Russian painting, I know only one thing that reminds me of Pushkin's incomparable poems - Serovskiy portrait V. S. Mamontova. There is no “shelf of books” visible here, but I am sure that there is, there certainly is, either right there or in the next room, as I probably know that somewhere at the end of the garden there is a “cross” and the “shadow” is quietly moving branches" over someone's dear grave."

The Abramtsevo estate near Moscow, which belonged to S. T. Aksakov, passed in 1870 into the possession of Savva Ivanovich Mamontov, a major industrialist, art lover and artist who managed to attract many remarkable Russian painters to the Abramtsevo art circle. To the Mammoth family Serov he entered as a child, was in her like a native, was friends with the children of Savva Ivanovich. Mamontov's son, Vsevolod Savvich, recalls:

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

Serov have worked above portrait « drunkenly”, Carried away by the consciousness that his business is arguing, “goes like clockwork.”

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

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

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

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

Alive, tanned, with large dark radiant eyes, with a hat of rebellious thick hair, she stares at the viewer, all flooded with light breaking through the windows and playing with multi-colored reflections on the wall, on a majolica dish hung in the wall, on the backs of chairs, on the table by the window, on a candlestick, on the silver of a knife and velvety fruits lying on the table.

Joyful, unusually invigorating sunlight, falling from the windows, saturates the entire space of a large bright room, glides over Verusha's face, creating an exquisite play of lilac and blue tones on a pink blouse, shimmering with mother-of-pearl reflections, sliding with multi-colored highlights, playing with colored spots on the tablecloth.

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

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

Portrait Verushi Mammoth, which struck all of Moscow at that time, is one of the most beautiful creatures Russian portrait skill not only by the power of execution, but also by the type of the depicted person, who bears the features of national Russian beauty.

Academician M. V. Alpatov wrote about this portrait:

"Who does not know in the Tretyakov Gallery" girls with peaches, this cute swarthy naughty girl? She only sat down at the table for a moment, looking askance at us with her brown eyes, in which a light lurked. Her nostrils flare a little, as if she can't catch her breath from a fast run. Her lips are seriously compressed, but there is so much childish carefree and happy slyness in them! .. Everyone knows her like that, she has become a universal favorite. Siblings " girls with peaches"can be found in Russian literature in Pushkin, Turgenev, Chekhov, especially Tolstoy."

The freshness of youth blowing on us from the face Verushi Mammoth, transferred Serov with striking, incomprehensible subtlety and nobility. Starting from this amazing debut, we can confidently speak of Serov contribution in world art.

And now the bright sunlight floods the familiar dining room in the museum-estate "Abramtsevo". The only thing missing here is the dining table, at which dear Verusha once sat, posing for her beloved older friend. Everything else has been kept as it was. Serove and at Serov: on the stand stands the figure of a grenadier - a toy made by Sergius handicraftsmen, painted Serov, above it is a majolica plate. The sun shines through the window...

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

The section was created based on the materials of the book " Wonderful canvases"Publishing house" Leningrad "1962

Composition of the painting "Girl with peaches"

Italian impressions largely determined the creative well-being Serov, when at the end of the summer of the same 1887 in Abramtsevo he worked on a work from which his artistic fame began, painting", creating in it a radiant image of youth, beauty, which became a direct manifestation of his then excitedly poetic attitude to the world. "All I wanted," he later said, "is freshness, that special freshness that you always feel in nature and not see in pictures. I painted for more than a month and exhausted her, poor thing, to death, I really wanted to preserve the freshness of painting with complete completeness - that's how old masters". However, "to preserve the freshness of painting" for him at the same time meant to preserve the freshness of that 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 order to achieve "finality", and therefore , working from nature on portrait twelve years old Verushi, daughters C. Mamontova, he, remembering the lessons of Repin and Chistyakov, deliberately solved it as picture. live, direct teenage girl posed for a twenty-two-year-old artist in a light-filled room, sitting at a table covered with a white tablecloth, dressed in a pink sweater with a large blue bow with white polka dots pinned to her chest and a huge red carnation. The light pours from behind the window, behind which one can see the foliage of trees slightly touched by autumn yellowness, "flows" into the next room. Painting as if woven from light and air. In solving this problem coloring paintings plays the most active role: a white tablecloth, light walls of the room, a pink "spot" of a sweater in the center, and given that Serov and white is not white, and pink is not pink, but everything is in reflexes, that each section of the pictorial surface complements and enriches those adjacent to it, and that texture is important in conveying a sense of variability, transience, it may seem that indeed his canvas - a large impressionistic study.

Painting composition dynamic no less color. Built diagonally (which is the line that marks the edge of the table), it appears to be "open" in all directions and fragmented, like a frame of an instant photograph. In the organization of the depicted space, another, invisible, diagonal takes part, coming from the depths, from the window behind the girl's back. Let's mentally draw two more diagonals - from corner to corner, and we will see that her head is located a little higher than the point of their intersection, almost at the top of the isosceles triangle, the base of which is the upper edge of the canvas. Her figure is also inscribed in a clear isosceles triangle, its base is the girl's left hand lying on the table. Thus in picture everything is strictly balanced, stable, but clear logic did not damage her emotional structure. In the spotlight Serov first of all, the image of his young heroine remained, although many different objects fell into the artist's field of vision. These are antique chairs, armchairs and a table - all dark wood, polished, reflecting the light falling on them, their predominantly curvilinear outlines echo the contour of the girl's figure, the silhouette, serving as a kind of "frame", helps to fix her position both in the depicted space and on the plane canvases. The cap of her thick dark brown hair and a large blue bow on a pink background are equally stable "dominants" of this strictly calculated compositions. Only thanks to her poise, accuracy, our attention can focus on Verusha's face, on which a palatal blush plays through a deep, even tan. The lively look of her brown eyes, a light, barely perceptible movement of her lips, their corners are slightly raised, a smile at any moment is ready to illuminate the face of this half-child - half-girl. The tender, feminine hand of her left hand, calmly lying on a white tablecloth, is extremely beautiful. In contrast to it, with a few vigorous strokes Serov outlined the right hand, conveying the jerky movement of the fingers clasping the peach. A rare harmony of movement and rest, fleeting and stable, ends with the image of a silver fruit knife lying on the table, slightly withered maple leaves and ruddy fruits, the shape and especially velvety surface of which seem to "echo" with the gentle face of the sweetheart. Serovskaya models.

V.B. Rosenwasser

Description of the artwork "Girl with peaches"

In the picture we see a corner of a large room flooded with silvery daylight: a dark-skinned, black-haired girl in a pink blouse with a black bow with a white pea is sitting at the table. AT girl's hands peach, same dark pink like her face. Withering maple leaves, peaches and a silver knife lie on a dazzling white tablecloth. Outside the window is a bright summer day, tree branches stretch through the glass, and the sun, making its way through their foliage, illuminates the quiet room, and the girl, and antique mahogany furniture. Everything in this picture is natural and unconstrained, every detail is connected with one another, and together they create an integral work. The beauty of the girl's face, the poetry of the life image, the light-saturated colorful painting - everything in this work seemed new. This work of a young artist struck his contemporaries with the freshness of light, radiant color, subtle transmission of light and air.

Descriptions of paintings

Painting "Girl with an apple"

The interests of the painter of the first half of the 19th century Vasily Alexandrovich Tropinin are closely connected with the name of Jean Baptiste Greuze. Tropinin copied this painter all his life, “quoted” and even frankly borrowed the compositions of his individual works. These are, for example, “Girl with an Apple” (Tropinin’s only surviving work of the academic period) and “Boy yearning for his dead bird”, shown at the academic exhibition of 1804 and brought the first recognition to the author. For Tropinin, the name of the “Russian Dream” was assigned, which not only determines his place in national painting, but indicates an organic connection with the art of the French master. If in the works of the Dutch and Flemings Tropinin found support for his realistic orientation, searches in the field of the genre, then with Greuze he was brought together by the sentimentalist-enlightenment worldview inherent in both of them. Tropinin saw Greuze's original works - at the Academy of Arts, in the Hermitage, and later - in private collections. Thus, Tropinin could thoroughly study the manner of the artist he revered.

The picture is a Russian-interpreted copy of the popular image of French sentimentalism - the head of Dreams “Girl with an Apple”. As far as the connection between Tropinin's work and Grezov's, which literally repeats the original in the plot, composition, in the turn of the figure and accessories, is clear, their dissimilarity in the main is just as clear. The image of the Dream is abstract, devoid of individual features - it is a concocted alloy of sensual ecstasy and youthful good looks. The image of Tropinin is essentially a portrait. Although Tropinin tried to follow the original chosen by him as closely as possible, he retained its almost exact size (34.7 x 27.5), tried to literally reproduce the pose and clothes of the Grezov girl with an apple (apparently this was the reason for the unnatural and far-fetched pose in the picture Tropinin), but the head, the face of the child, the author wrote from nature.

It was here that the diametrically opposite interpretation of the same image by two artists was discovered. The graceful sensual head of Dreams, thrown back in dark ecstasy, Tropinin replaced with a sad face, perhaps a serf girl, writing it with all immediacy and truth. In the thoughtful look of the eyes, in the sad face, framed by a mop of fluffy hair, one can most likely read a difficult, not at all childish share. The girl's eyes with pupils flat and opaque, as if shrouded in haze, with blue proteins, with dotted highlights, do not look at the viewer, but are directed somewhere into an unknown distance. The nostrils and lips of the child are outlined more accurately and in detail. Dabs of red paint are placed at the top of the eyelid, at the nostrils, in the outlines of the fingers, as if blood is shining through the skin. A slight blush on the golden surface of the girl's face echoes the thick pink color of the apple.

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

Children with fruits

American artist Morgan Weistling

Morgan Weistling is a contemporary American artist. Morgan, the third child in a family of artists, was born in 1964. From an early age he lived among easels and paints, and he read the first, most important books on art from the vast family library, sitting on his father's lap.

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

In his free time, he painted for the soul, and the first serious picture was appreciated by the co-owner of the Trailside Gallery, Marivonne Lesh. “He sent us his paintings without frames, but even before they were hung, they were sold! His first showing consisted of 26 paintings, all sold out within five hours. The next year, at his second solo exhibition, all the paintings were also sold long before the opening!”

In 2000 he won the Prix de West Invitational and Masters of the American West Exhibits. And in 2001 he won the Non-Jean Halsey Buyer Prix de West Award for his painting Dance.

In 1990, Morgan met his future wife at art school. He and Joanne had two daughters, Brittany and Siena. Both girls often act as models for Morgan's paintings.

Peach

Peach(botan. Makum persicum, "Persian apple") - a fruit highly valued in antiquity, imported from the East in the 1st century. AD, often mistaken for an apricot. When a laurel grew over a peach tree in the garden of Emperor Alexander Severus, this was seen as an omen of victory over the Persians.

In ancient China, the peach was considered a symbol of immortality or longevity. peach blossom - a symbol of a fresh young girl, as well as frivolous women and "peach blossom madness" as periphrases of the confusion of feelings in adolescence.

Framing workshop services

A large selection of baguettes and mats, high-quality materials for the design of works, modern technologies for the manufacture of baguette frames, a creative approach to design inherent in our employees, short lead times for orders are the main characteristics of our baguette workshop. There are many wonderful framing workshops in Moscow, and our workshop occupies a worthy place among the best of them.

Some baguette workshops offer a full service - from the departure of employees to your home or office for measurements and delivery of the finished order to the installation of a decorated picture on the wall.

Types of works of framing workshops:

Picture hanging systems

For picture pendants can be used perlon line, which is attached to rail from a metal profile. If necessary, you can simply move picture to the right place. The most important thing is to drill holes in wall only need to do it once installation picture hanging system.

Framing workshop Moscow

Urgent framing workshop

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

Prices on the design services baguette workshop. Framing Workshop expands the scope of activities in Moscow and Moscow region to provide design services individuals and organizations. The main purpose baguette workshop custom frame manufacturing. Urgent production order in workshop. For ever-increasing demands baguette workshops Keencut Inc. responded with a new concept of "continuous development". The main goal of Keencut is the development of design programs to help baguette. The company uses 3D modeling technologies baguette equipment.

Frames to order

Urgent order in the framing workshop. Baguette frames to order. Workshop manufactures from wooden, plastic and aluminum baguette the best baguette firms Europe. Mirror frames. Golden baguette frames. Baguette frames with passe-partout. Baguette frames retail and wholesale. Framework standard sizes - framework A3, A2, A4. Baguette frames big sizes. Framework from wide baguette. Baguette frames a3 co glass. A3 plastic frames co glass. Glareless baguette glass. Prices on the baguette frames.

Baguette Moscow

Ordering a baguette for paintings

Order a baguette for frames in Moscow baguette workshop. Urgent production ordered framework in baguette workshop GALLEON. The artistic value of a baguette depends on the profile and relief pattern. Depending on the width, the baguette is called narrow and wide, and depending on the thickness - low and high. Wooden baguette for pictures. Wooden baguette. Baguette made from various breeds tree a wide variety of profiles, with various decorative finishes: ornaments, different colors, lacquer and golden coatings. Mirrors in a baguette. framing mirrors in golden baguette. Price baguette in Moscow.

Ordering a passe-partout in a framing workshop

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

Moscow

Baguette in Moscow

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

Baguette Moscow. Prices on the baguette design services. Baguette frames order urgently in Moscow baguette workshop. Passepartout in Moscow.

Moscow- the capital of the Russian Federation, administrative Centre Central federal districts and Moscow region.

mirror frame

There are many design options mirrors: from massive baroque ram with bronze candelabra thin metallic edging in style high tech. Big choice frames for mirrors. Wooden baguette for mirrors and paintings. Mirrors in a golden baguette. Order frames for mirrors in baguette workshop. Frame attaches mirror decorative and determines its belonging to a particular style. Gold frame for a mirror in living room. Plastic frames for mirrors in hallway, kitchen and bathroom. Mirror can "amaze" with an interesting shape, original frame. Via mirrors you can hide the flaws in the layout of the home. Mirror in a wooden frame for the living room. Mirror in the interior creates the effect of expanding space. Usually mirrors placed in hallway, bedroom, bathroom. Mirrors large sizes. Making large mirrors. Prices on the mirrors.

Ordering glass in a framing workshop

Ordering glass in a framing workshop. glass terminal frames without baguette. Glass photo frames. AT picture frame or in photo frame cutting and pasting glass is easy. If the glass is to be inserted into a frame with a recess (rebate), then the size of the glass must be a few millimeters smaller than the measured sample size. If the dimensions of the sample are constant over its entire width and height, then an allowance of 2 mm is sufficient. Baguette glass order. Let's cut glass of any sizes and forms, in any quantity. Anti-reflective baguette glass can to order and buy in baguette workshop. Price on the glass.

Ordering stretchers in a framing workshop

Framing Workshop manufactures subframes for paintings. Durable wood is used to make the subframe. Subframes large sizes. Stretcher protects the paint layer paintings from breaks. Manufacturing subframes to order. A well-made stretcher eliminates the "sagging" of the canvas and thereby prolongs the life picture. Masters stretch canvases, embroideries and batik onto stretchers. Wooden stretcher A3. Prices on the subframes.

Hanging pictures

Framing Workshop (Moscow) offers a new method picture pendants via suspension system Nielsen. Barbell from aluminum profile Nielsen attached to the wall with plastic washers. Perlon line is fixed inside the rod profile with sliding hooks or bushings and can be moved along the rod. Durable nylon line 2 mm thick is almost invisible against the background of the wall. Paintings hung up on the fishing line using special hooks with screws that can be fixed at the desired height. Reliable fixation at the required height requires some effort when screwing the screw. Aluminum profile easy to mount under the ceiling and allows you to easily and hassle-free outweigh the pictures.

Baguette picture frames

Ordering picture frames in a framing workshop

Framing Workshop (Moscow) draws up in baguette paintings, watercolor, drawings, photographs, posters, mirrors, etc. Gold baguette for pictures. Large picture frames. Artists place great value on choice framing for their paintings. Many great artists sketched baguette elements and even made them themselves. golden frames for paintings. Ordering picture frames in baguette workshop. picture frames can buy, pre having ordered in our baguette workshop. Prices on the picture frames.

Frames for watercolor paintings

In the technique of watercolor painting, you can create paintings in the genre of landscape, still life, portrait. Transparency and softness of the thinnest paint layer paintings are characteristic properties of watercolor painting. For framing watercolors it is advisable to use a passe-partout and a not very wide baguette. framing in wooden baguette. frames for watercolor paintings.

Picture frames

Fine picture frames

Drawings are created by artists in the process of studying nature (sketches, studies), while searching for compositional decisions graphic, pictorial and sculptural works (sketches, cardboards), when marking picturesque paintings (preparatory drawing for painting). Professional baguette registration graphics, photographs, documents using wooden baguette and passe-partout. Framework collected from baguette made from tropical woods. We have in workshop you can choose one of the options artistic design for graphics and order passe-partout and baguette for frame. Graphic works should be placed in deep passe-partout so that there is air space between the glass and the surface of the original when edging. Classic graphics look better in a double passe-partout in light shades. A double passe-partout composed of close shades of ivory creates an effect deep "facet"- the inner edge of the window in the passe-partout. The artistic value of the baguette depends on the profile and relief pattern. Depending on the width baguette called narrow(up to 4 cm) and broad, and depending on the thickness - low and high. If required lungs durable framework, it is better to collect them from aluminum baguette. Drawings pencil look better in modest narrow framework(aluminum or wood). colored frames for children's drawings. Plastic frames A3 for drawings.

Plastic photo frames

Baguette photo frames wholesale and retail

Traditionally the most interesting and commemorative Photo insert in framework that can be put on the table or hang on the wall. Important right pick up a frame, it must match Photo and harmonize with the interior of the room. Checkout photos possible in baguette workshop(in center Moscow). The type of baguette depends on the type of images in the photo (portrait, landscape, children's photos). At photo framing passe-partout can be used. A slip can be offered to the passe-partout (edging along the edge of the window).
Large photo frames. Aluminum frame a3 Golden photo frames. Plastic photo frames. Photo frames wholesale a4 and a3 from plastic, aluminum and tree. There are suggestions for wholesale frame making for photos (photo frames). Can make as one frame, and large wholesale order.

Order frames for diplomas in a framing workshop

Baguette paperwork

Professional baguette registration documents. Frame order for diplomas in baguette workshop Big choice framework for documents.

Plastic frames A3 and A4 Plastic frames A4 for certificates, diplomas, diplomas. Finished frames standard sizes for certificates, diplomas, posters, photos. golden frames for diplomas. Golden frames a3. A3 poster frames. For diplomas, certificates and cards in baguette workshop You can order lamination.

Frames for wall cards

plastic frames for kart. aluminum frames for wall maps. AT workshop often are issued cards large sizes. In cases where increased strength is required, aluminum baguette- the best choice. AT frames from aluminum baguette can put wall maps, posters, posters. Antique geographical maps are the best decoration for an office. A3 frames for cards.

Golden frames for embroidery icons

golden frames for embroidery icons. plastic frames for embroidery. If you embroider paintings, then sooner or later you will have to pick up for her frame. Choosing frame for design embroidery, it should be remembered that style, Colour, width and other features baguette for frame directly depend on the plot, style, color scheme and size embroidered pictures. To each embroidered picture choose your own unique framing. Choice frames for embroidered pictures also depends on whether it will be used embroidery designs passe-partout or not.

Majority embroidered pictures looks more effective if a passe-partout is used in the design. Passe-partout is made single, double, sometimes triple. The selection of a triple passe-partout is a complex process even for a specialist (designer). The embroidery is stretched so that the cells of the canvas run parallel to the cut of the passe-partout cardboard. Increasingly widespread are paintings, beaded. wooden frames with passe-partout. A3 frames for embroidery.

Tapestry picture frames

A tapestry is a hand-woven carpet picture. Tapestries were woven according to the drawings with colored woolen and silk threads. Baguette for paintings from tapestry choose, starting from the plot depicted on the tapestry. golden frames for tapestries. For design tapestries most often a wooden baguette of brown shades is used, sometimes - under gold, less often - under silver. A3 frames for tapestries.

Frames for medals

Baguette decoration of orders and medals

Baguette decoration collectible items. Professional registration orders, medals, badges. At design in baguette orders and medals of great importance is the correct placement of orders and medals. Orders are placed in the form compositions with a certain hierarchy, taking into account their appearance and significance. The background is green velvet (cloth) for military awards and blue for sports. Baguette frames a3 for orders and medals.

This picture is known even to people far from art. 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 well-known philanthropist and wealthy industrialist, posed for him.

But few people know what happened to the heroine when she grew up, and what a tragic fate awaited her family. Faktrum publishes the story of the same Girl.

Source: Kulturologia.ru

1. Valentin Serov created his most famous work at a young age - at that time he was only 22 years old. In the spring of 1887, he returned from Italy and stayed for a stay at the Abramtsevo estate of Savva Mamontov near Moscow. The artist worked with inspiration and as if in one breath, but at the same time the girl had to pose for a long time.

Serov later wrote about that period:

“All I wanted was freshness, that special freshness that you always feel in nature and you don’t see in pictures. I wrote for more than a month and tortured her, poor thing, to death.

2. The estate in Abramtsevo was a real home of creativity: Turgenev, Antokolsky, Surikov, Korovin were guests here. Vera Mamontova was painted by many artists who visited Abramtsevo: Repin, Vasnetsov, Vrubel also created her portraits. Vrubel endowed her with the features of "Snow Maiden", "Egyptian", Tamara in the illustrations for "Demon". Vasnetsov explained the desire of artists to paint her in this way: "It was the type of a real Russian girl in character, beauty of her face, charm." But the most famous was Serov's painting "Girl with Peaches".

3. The artist painted a portrait of Vera in the dining room, outside of which one could see Abramtsevo Park with an alley named Gogol in honor of the writer who once loved to walk here. In the next room - the Red Drawing Room - writers and artists often gathered.

4. Serov presented the painting to Elizaveta Mamontova, mother of Vera, 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 "The Girl with Peaches" they started talking about Serov, and soon he became one of the most fashionable portrait painters. But what was the fate of Vera Mamontova herself?

5. Vera married Alexander Samarin, leader of the Moscow nobility, Minister for Church Affairs. The wedding took place in the church of Boris and Gleb, later destroyed by the Bolsheviks. Now in its place, near the exit from the Arbatskaya metro station, there is a chapel.

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

7. 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. In Soviet times, the temple was devastated and used as a warehouse. Now it has been restored. Vera Mamontova's husband was exiled to the camp in the 1920s, and their daughter Liza went with him. And he died in 1932 in the Gulag.