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“On the Volga” (На Волге) is an oil on canvas of 141.5 X 190,5 cm painted by Nikolai Dubovskoy (Николай Дубовской) in 1892 now situated in the Tretyakov Gallery.
This beautiful landscape and marine painting depicting the wide full-flowing river Volga is one of Dubovskoy’s major works.
On the Volga by Nikolai Dubovskoy 1892
Since 1884, Dubovskoy’s painting have been presented exclusively at traveling exhibitions. He was admitted to the Association of Traveling Art Exhibitions in 1886, and became one of his most active member.
Starting with the painting “Quiet” in 1890, one of the important trends in Dubovskoy’s landscape was the theme of wide expanses of water.
“On the Volga” presented at the 20th exhibition of the Association of Traveling Art Exhibitions on February 1892 in Saint Petersburg was widely appreciated by viewers and critics and was bought by Tretyakov that same year.
A sketch of the study of “On the Volga” is also at the Tretyakov Gallery. It is an oil on canvas of 24 X 32 cm.
On the Volga – study 1892 by Dubovskoy
Description of the painting
Most of the canvas is occupied by the sky and water. The Volga which extends to the very horizon is perceived as an endless sea. The river is calm, there are no waves.
On the Volga by Nikolai Dubovskoy 1892
The very low and barely noticeable horizon line in which the water merges with the sky creates an impression of vastness.
In the painting “On the Volga” the artist uses “a finely nuanced range of lilac tones”, and the color scheme of the landscape is based on smooth transitions. Bluish-brown tones are used in the foreground of the shaded part of the water, and lilac-opal shades are used closer to the horizon, while silvery-bluish tones are used when depicting the sky.
On the Volga (part sky) by Nikolai Dubovskoy 1892
Looking at the sky, we can see clouds floating across the sky, on which soft reflections of the sun are visible.
On the Volga (part reflection on water) by Nikolai Dubovskoy 1892
The water like a mirror reflects everything around it, like the sky, and boats.
On the Volga (part boats) by Nikolai Dubovskoy 1892
To impress the size of the river fishing boats stand on the calm water seeming very small. We can also glimpse the figures of fishermen on a narrow strip of shallows on the right side of the canvas, as well as gulls.
The relatively small size of boats and fishermen not only emphasizes the vastness of the space surrounding them, but also shows the connection of the river with the life of people living and working on its banks .
Aujourd’hui nous allons découvrir deux beaux tableaux d’Alexey Ivanovich Korzukhin (Алексей Иванович Корзухин) intitulés “Paysannes dans la forêt” peint en 1877 et une seconde fois en 1878.
On a cru très longtemps que le fond du tableau avait été réalisé par Chichkine mais après une longue étude minutieuse de la toile, il a été prouvé que ce dernier n’avait rien à voir avec l’œuvre de Korzukhin.
“Filles paysannes dans la forêt” 1877“Filles paysannes dans la forêt” 1878
Alexey Ivanovich Korzukhin est un peintre russe du 19ème siècle, originaire de la province de Perm qui a peint des toiles sur la vie paysanne difficile, et la cathédrale du Christ Sauveur.
Alexey Ivanovich Korzukhin
“Paysannes dans la forêt” (Крестьянские девочки в лесу), une peinture de genre russe, est une huile sur toile de 94 X 68,6 cm, peinte en 1877 par Alexey Ivanovich Korzukhin et a été vendue aux enchères pour 266,5 milliers de dollars en avril 2011.
La deuxième peinture de “Paysannes dans la forêt”, également une peinture de genre russe, est une huile sur toile de 43 X 36 cm, peinte en 1878 par Alexey Ivanovich Korzukhin et maintenant dans le State Art Gallery de Perm.
“Filles paysannes dans la forêt” 1877
“Filles paysannes dans la forêt” 1877
Sur ce tableau, vous pouvez voir, trois petites filles pieds nus qui sont allées dans la forêt pour ramasser des champignons et des baies. Elles ont été tellement emportées par cette occupation qu’elles n’ont pas remarqué comment elles ont erré dans un coin de forêt dense et maintenant elles sont appuyées contre un arbre, pressées les unes contre les autres et scrutant attentivement la forêt sombre. Elles ont probablement entendu une sorte de bruit qui les a beaucoup effrayées, peut-être une bête sauvage, ou peut-être un chasseur qui se promène près d’elles.
La posture des filles ainsi que leurs expressions faciales trahissent leurs peurs, leur tension et leur confusion qui est accentuée par les effets de lumière et d’ombre qui mettent en valeur les visages des enfants . Mais derrière la frayeur, se lit aussi la curiosité inhérente aux enfants. Les filles regardent dans le sombre fourré de la forêt, essayant de voir et de comprendre qui ou quoi pourrait s’y cacher et si cela vaut la peine d’en avoir peur.
L’anxiété et l’excitation se dégagent de l’image et même le tronc d’arbre qui penche intensifie l’expression de l’état anxieux et instable de ces petites filles.
“Filles paysannes dans la forêt” 1878
“Filles paysannes dans la forêt” 1878
Dans ce deuxième tableau de “Filles paysannes dans la forêt”, comme dans le premier, trois petites filles sont allées dans la forêt pour des baies. Elles sont habillées plus simplement et vous pouvez voir que soit des framboises, soit des fraises ont été ramassées, car l’un des paniers est déjà presque plein.
Comme dans le premier tableaux les petites filles sont effrayées par un bruit, se cramponnent les unes aux autres et s’adossent à un vieil arbre puissant. Mais ce tableau est plus sombre, plus dramatique. Les petites filles semblent avoir plus peur cherchant protection dans l’arbre penché.
Dans ce tableau, Korzukhin renforce le drame de l’événement en cours en utilisant des effets de lumière et d’ombre, et le fourré de la forêt effraie par son obscurité.
La première toile est plus dynamique, plus lumineuse et pittoresque tandis que la seconde est plus sombre et plus dramatique.
J’espère que vous avez apprécié ces peintures autant que moi, écrivez laquelle était votre préférée dans les commentaires.
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Today we will discover two beautiful paintings of Alexey Ivanovich Korzukhin (Алексей Иванович Корзухин) called “Peasant Girls in the Forest” painted in 1877 and a second time in 1878.
It was believed for a very long time that the background of the picture was made by Shishkin but after a long painstaking study of the canvas, it was proved that the latter had nothing to do with Korzukhin’s work.
“Peasant Girls in the Forest” 1877“Peasant Girls in the Forest” 1878
Alexey Ivanovich Korzukhin is a Russian painter of the 19th century, originally from the Perm province who painted canvases about the difficult peasant life, and the Cathedral of Christ the Savior.
Alexey Ivanovich Korzukhin
“Peasant Girls in the Forest” (Крестьянские девочки в лесу) , a Russian genre painting, is an oil on canvas of 94 X 68.6 cm , painted in 1877 by Alexey Ivanovich Korzukhin and was sold at an auction for $266.5 thousands in April 2011.
The second “Peasant Girls in the Forest”, also a Russian genre painting, is an oil on canvas of 43 X 36 cm, painted in 1878 by Alexey Ivanovich Korzukhin and now in the State Art Gallery of Perm.
“Peasant Girls in the Forest” 1877
“Peasant Girls in the Forest” 1877
On this painting, you can see, three barefoot little girls who went to the forest to collect mushrooms and berries. They were so carried away by this occupation that they did not notice how they wandered into a dense forest thicket and now they are leaning against a tree, pressed against each other and carefully peering into dark forest. They probably heard some kind of noise that scared them a lot, maybe a wild beast, or maybe a hunter who is wandering close to them.
The posture of the girls as well as their facial expressions betrays their fears, tension and confusion which is emphasized by the light and shade effects that highlight the faces of the children. But behind the fright, the curiosity inherent in children is also read. The girls peer into the dark forest thicket, trying to see and understand who or what might be hiding there and whether it is worth being afraid of it.
Anxiety and excitement emanates from the picture and even the falling tree trunk intensifies the anxious and unstable state of these little girl.
“Peasant Girls in the Forest” 1878
“Peasant Girls in the Forest” 1878
In this second painting of “Peasant girls in the Forest” as in the first three girls went to the forest for berries. They are dressed more simply and you can see that either raspberries or strawberries were collected, as one of the basket is already almost full.
As in the first paintings the little girls are frightened by a noise and clung to each other leaning their backs against an old powerful tree. But this painting is darker, more dramatic. The little girls seem to be more frightened, and seeking protection in the leaning tree.
In this painting, Korzukhin enhances the drama of the ongoing event by using light and shadow effects, and the forest thicket frightens with its darkness.
The first canvas is more dynamic, brighter and picturesque while the second is darker and more dramatic.
I hope you enjoyed these paintings as much as I did, write which one was your favorite in the comments.
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Vasily Perov était un grand artiste russe du XIXe siècle, dont les œuvres ont ouvert de nouveaux horizons à l’art russe. Ses peintures sont profondes et complexes, et démontrent toute la vérité sur la dure vie du peuple. Vasily était aussi un grand professeur qui a élevé plus d’une douzaine de très grands peintres. Regardez toutes ses peintures dans un diaporama et appréciez sa biographie.
paintings of Vasily Grigorevich Perov
Self-portrait. 1851
Portrait of N. G. Kridener, the artist’s brother. 1856
The arrival of the police officer for the investigation. 1857
Wanderer. 1859
Scene at the grave. 1859
First rank. 1860
Portrait of an unknown. 1860s
Portrait of E. E. Perova. OK. 1860
Village procession at Easter – 1861
Burglary on Easter night. 1861
Sermon in the village -1861
Village procession at Easter. 1862
Amateur – 1862
Portrait of I. M. Pryanishnikov. Around 1862
Courtship of an official to the daughter of a tailor – 1862
Tea drinking in Mytishchi, near Moscow – 1862
Organ grinder – 1863
Funeral in a poor quarter of Paris. 1863
Street musicians in Paris. 1863
Parisian festivities. 1863
A holiday in the vicinity of Paris. Sketch. 1864
Holiday in the vicinity of Paris (On Montmartre). (Unfinished) 1863-64
Seller of songbooks. (Unfinished) 1863-64
Parisian festivities. The interior of the booth during the presentation 1863-1864
Parisian organ grinder. 1864
Blind musician. 1864
A boy with raised hands, addressing the public – 1864
Orphans in the cemetery. 1864
Parisian rag-pickers. 1864
Savoyard. 1864
Songbook seller. 1864
Holiday near Paris. 1864.
last-journey-1865
Guitarist-bobyl. 1865
Boy – artisan. 1865
Next at the pool. 1865
Janitor giving an apartment to a mistress – 1865
Meal. 1865
Meal 1865 -1976
troika-apprentice-workmen-carrying-water-1866
A boy preparing for a fight – 1866
Clean Monday. 1866
The arrival of a governess in a merchant’s house. 1866
Arrival of a governess to a merchant’s house
Conversation at the round table. 1866
On a pilgrimage. 1867
In the loan office. 1867
Christ and the Mother of God at the sea of life. 1867
Drawing teacher – 1867
Drowned Woman – 1867
On the railroad. 1868
Fomushka-owl. 1868
Janitor – self-taught. 1868
Market in Moscow. 1868
Portrait of N. F. Rezanov. 1868
Portrait of F. I. Rezanova. 1868
Portrait of F. F. Rezanov. 1868
The division of the inheritance in the monastery (Death of a monk). Pencil drawing. 1868
The last tavern at the outpost. 1868
Old Man – 1868
Portrait of the writer A. F. Pisemsky. 1869
Portrait of V.V. Bezsonova (1826-1887) – 1869
Portrait of N. P. Lanin. 1869
Wanderer. 1869
Portrait of A. A. Borisovsky. 1869
Girl with a jug. 1869
bird-catcher by Perov – 1870
Sleeping children. 1870
Portrait of Nikolai Grigorievich Rubinstein. 1870
To the Trinity-Sergius – 1870
Portrait of Anton Grigorievich Rubinstein. 1870
On the eve of the bachelorette party. Seeing the bride from the bath – 1870
Portrait of Avdotya Kuznetsova. 1870
Wanderer – 1870
Self-portrait. 1870
Arrival of a college girl to a blind father 1870
Portrait of an unknown. 1870
Grandfather and granddaughters. 1871
fisherman-1871
hunters-at-rest-1871
Portrait of A.N. Ostrovsky (1823-1886) -1871
Conversation of students with a monk. 1871
Portrait Dostoevsky 1872
Portrait of A.N. Maikov (1821-1897) – 1872
Portrait of V.I. Dahl (1801-1872) – 1872
Portrait of I.S. Kamynin (1808-1874) – 1872
Portrait of the writer Sergei Timofeevich Aksakov. 1872
Portrait of the historian Mikhail Petrovich Pogodin (1800-1875) – 1872
Portrait of the writer Ivan Sergeevich Turgenev. 1872
Portrait of the composer P. S. Campioni. 1872
Cossack. 1873
Traveler. 1873
Holy fool, surrounded by wanderers. 1872
Head of a Kirghiz – a convict. 1873
Fedot and Arina. 1873
Evening on Great Saturday. 1873
Portrait of the merchant S. T. Kuznetsov. 1873
Gogol wird von den Gestalten seiner Werke zu Grabe getragen. 1873
Inveterate. 1873
Sad father. 1873-74
Scouts near Sevastopol. 1874
pigeon-fancier-1874
Reception of a wanderer. 1874
The return of the reapers from the field in the Ryazan province. 1874
Joyful father. 1874
The old man. Fragm. variant k. Old people – parents at the grave of their son. 1874
Old parents at the grave of their son – 1874
Botanist. 1874
Gossip Girl. 1875
Pugachev’s Court. 1875
Portrait of Anna Ivanovna Sergeeva, nee. Sheina. 1875
Peasant in the field. 1876
Portrait of Pyotr Ivanovich Nikolaev, Chairman of the Vladimir Zemstvo Council. 1876
Portrait of N. A. Kasatkin. 1876
Portrait of A. I. Kridener, born. Ivanova, the artist’s mother. 1876
fishing 1878
Blind. 1878
A janitor who gives an apartment to a mistress. 1878
Mother with a sick child. 1878
Portrait of A.K. Savrasov (1830-1897) – 1878
Christ in the Garden of Gethsemane. 1878
Executed Pugachevites. Rice. pencil and pen. 1878
Pugachev’s Court – 1879
Fishermen. (Priest, deacon and seminarian). 1879
Wanderer in the field. 1879
From the station. 1879
Blessed. 1879
On the traction. Pencil drawing. 1879
The return of the peasants from the funeral in winter. Beginning 1880s
Vasily Grigoryevich Perov est né entre le 21 et le 23 décembre 1833 (2 ou 4 janvier 1834) et est le fils illégitime du baron Georgy (Grigory) Karlovich Kridener et d’AI Ivanova.
Même si ses parents se sont mariés peu de temps après sa naissance, Vasily n’avait pas droit au nom et au titre de son père. Et son surnom “Perov”, qui est son nom de famille, lui a été donné par son professeur de literacy pour sa diligence et son écriture habile.
Dans son enfance, Vasily était malade de la variole, ce qui lui a causé une mauvaise vue pour le reste de sa vie.
Il s’est intéressé à la peinture après avoir observé le travail d’un artiste et est allé étudier à l’école d’art Arzamas d’AV Stupin. Mais parce qu’il était si bon qu’il a été autorisé à peindre avec des peintures à l’huile avant les autres élèves, puis malheureusement à cause d’une dispute avec un autre élève, il n’a pas terminé l’école.
Il est rentré chez lui et a commencé à créer la composition « Crucifixion » écrite tout au long du Carême et achevée la Semaine Sainte puis placée dans une église située près du village de Nikolskoye.
Il a également peint un certain nombre de portraits et de tableaux de genre : « Un mendiant qui mendie », « Troïka du village », « Festival folklorique dans la Semik ».
En 1853, Vasily Perov est entré à l’école de peinture, de sculpture et d’architecture de Moscou et a obtenu son diplôme universitaire sous la direction de SK Zaryanko.
Perov a présenté le “Portrait de Nikolai Grigoryevich Kridener, le frère de l’artiste” à l’Académie impériale des arts et a reçu une petite médaille d’argent en 1856.
Portrait of Nikolai Grigorievich Rubinstein. 1870
Ce travail était encore étroitement lié aux traditions de l’art du début du XIXe siècle, mais déjà dans les travaux suivant, Perov agissait comme un innovateur.
En 1857, le tableau “Arrivée d’un policier pour enquête” rapporte à l’artiste une grande médaille d’argent et attire l’attention du public et des critiques.
The arrival of the police officer for the investigation. 1857
En 1860, Perov reçut à nouveau une petite médaille d’or pour le tableau «Premier rang. fils de sacristain, promu greffier collégial », qui érigea l’artiste en héritier du genre satirique des années 1840.
Maintenant, il pouvait participer au concours pour une grande médaille d’or, et peint “Sermon dans le village” et “Procession religieuse rurale à Pâques”. Il reçu une grande médaille d’or en 1867 et le droit de voyager à l’étranger comme pensionnaire pour le premier tableau.
Sermon in the village -1861
En 1862, Perov épousa Elena Edmondovna Sheins et ils partirent à l’étranger alors qu’il était lui-même pensionnaire à l’Académie des Arts.
En 1863-1864, Perov a vécu et travaillé à Paris, mais il voulait rentrer chez lui et après avoir reçu l’autorisation de l’Académie pour un retour anticipé qui comprenait la poursuite de l’internat en Russie, il est retourné à Moscou.
Vasily Perov s’est installé dans la maison de l’oncle de sa femme, F.F. Rezanov à Moscou et n’a jamais quitté la ville.
Alors qu’il était encore à l’étranger, Perov a conçu un grand tableau avec une intrigue de la vie monastique, avec ces peintures, une nouvelle étape dans le travail de l’artiste a commencé: d’une direction satirique, il est passé à des histoires plus dramatiques – sur «l’humiliation et l’offense.
En 1869, Vasily Perov et Myasoedov créent l’Association des expositions d’art itinérantes (TPKhV). Vasily, qui a été membre du conseil d’administration pendant 7 ans, a organisé un groupe de Wanderers à Moscou.
En 1870, il a obtenu le titre de professeur de l’Académie des Arts grâce aux tableaux “Vagabond” et “Attrape-Oiseaux”, et reçoit le premier prix de l’OPH pour le tableau “L’Homme-Oiseau”.
bird-catcher by Perov – 1870
Dans les années 1970, les histoires de la vie quotidienne occupent une place particulière dans l’œuvre de Perov. Puis en 1871, Vasily est nommé professeur à l’École de peinture et d’art de Moscou.
En 1871-1872, Perov, commandé par le Premier ministre Tretiakov, a exécuté un certain nombre de portraits d’écrivains et de scientifiques russes. Perov a atteint une telle «vérité» dans certains portraits, ce qui dans l’art russe n’a été atteint que par IE Repin et VA Serov .
Perov a épousé Elizaveta Egorovna Druganova en 1872.
En 1873, ses tableaux “Pêcheur” et “Chasseurs au repos” sont présentés à l’Exposition universelle de Vienne.
fisherman-1871
En 1877, Perov a quitté les membres du TPHV et a participé à l’exposition de l’Exposition universelle de Paris un an plus tard.
Au cours des dernières années de sa vie, VG Perov a collaboré avec la revue ” Priroda i Okhota ” de LP Sabaneev et un certain nombre de ses histoires ont été publiées dans le Art Journal qui a été publié en 1881-1887.
Sa santé se détériora à cause du typhus et d’une pneumonie en 1881 et Vasily Perov mourut de consomption, à l’âge de 49 ans, dans un petit hôpital de Golitsyn près de Moscou.
Perov a été enterré au cimetière du monastère, du monastère de Danilov où une pierre tombale lugubre en forme de croix sur le Golgotha a été érigée sur sa tombe.
Plus tard, ses cendres ont été réenterrées au cimetière du monastère du monastère de Donskoy, et sur la nouvelle tombe de l’artiste, un monument a été érigé par le sculpteur Alexei Evgenievich Yeletsky.
Vasily Perov was a great Russian artist of the 19th century, whose work opened up new horizons for Russian art . His paintings are deep and complex, and demonstrate the whole truth of the hard life of the people. Vasily was also a great teacher who brought up more than a dozen really great painters. Watch all his paintings in a slide show and enjoy his biography.
paintings of Vasily Grigorevich Perov
Self-portrait. 1851
Portrait of N. G. Kridener, the artist’s brother. 1856
The arrival of the police officer for the investigation. 1857
Wanderer. 1859
Scene at the grave. 1859
First rank. 1860
Portrait of an unknown. 1860s
Portrait of E. E. Perova. OK. 1860
Village procession at Easter – 1861
Burglary on Easter night. 1861
Sermon in the village -1861
Village procession at Easter. 1862
Amateur – 1862
Portrait of I. M. Pryanishnikov. Around 1862
Courtship of an official to the daughter of a tailor – 1862
Tea drinking in Mytishchi, near Moscow – 1862
Organ grinder – 1863
Funeral in a poor quarter of Paris. 1863
Street musicians in Paris. 1863
Parisian festivities. 1863
A holiday in the vicinity of Paris. Sketch. 1864
Holiday in the vicinity of Paris (On Montmartre). (Unfinished) 1863-64
Seller of songbooks. (Unfinished) 1863-64
Parisian festivities. The interior of the booth during the presentation 1863-1864
Parisian organ grinder. 1864
Blind musician. 1864
A boy with raised hands, addressing the public – 1864
Orphans in the cemetery. 1864
Parisian rag-pickers. 1864
Savoyard. 1864
Songbook seller. 1864
Holiday near Paris. 1864.
last-journey-1865
Guitarist-bobyl. 1865
Boy – artisan. 1865
Next at the pool. 1865
Janitor giving an apartment to a mistress – 1865
Meal. 1865
Meal 1865 -1976
troika-apprentice-workmen-carrying-water-1866
A boy preparing for a fight – 1866
Clean Monday. 1866
The arrival of a governess in a merchant’s house. 1866
Arrival of a governess to a merchant’s house
Conversation at the round table. 1866
On a pilgrimage. 1867
In the loan office. 1867
Christ and the Mother of God at the sea of life. 1867
Drawing teacher – 1867
Drowned Woman – 1867
On the railroad. 1868
Fomushka-owl. 1868
Janitor – self-taught. 1868
Market in Moscow. 1868
Portrait of N. F. Rezanov. 1868
Portrait of F. I. Rezanova. 1868
Portrait of F. F. Rezanov. 1868
The division of the inheritance in the monastery (Death of a monk). Pencil drawing. 1868
The last tavern at the outpost. 1868
Old Man – 1868
Portrait of the writer A. F. Pisemsky. 1869
Portrait of V.V. Bezsonova (1826-1887) – 1869
Portrait of N. P. Lanin. 1869
Wanderer. 1869
Portrait of A. A. Borisovsky. 1869
Girl with a jug. 1869
bird-catcher by Perov – 1870
Sleeping children. 1870
Portrait of Nikolai Grigorievich Rubinstein. 1870
To the Trinity-Sergius – 1870
Portrait of Anton Grigorievich Rubinstein. 1870
On the eve of the bachelorette party. Seeing the bride from the bath – 1870
Portrait of Avdotya Kuznetsova. 1870
Wanderer – 1870
Self-portrait. 1870
Arrival of a college girl to a blind father 1870
Portrait of an unknown. 1870
Grandfather and granddaughters. 1871
fisherman-1871
hunters-at-rest-1871
Portrait of A.N. Ostrovsky (1823-1886) -1871
Conversation of students with a monk. 1871
Portrait Dostoevsky 1872
Portrait of A.N. Maikov (1821-1897) – 1872
Portrait of V.I. Dahl (1801-1872) – 1872
Portrait of I.S. Kamynin (1808-1874) – 1872
Portrait of the writer Sergei Timofeevich Aksakov. 1872
Portrait of the historian Mikhail Petrovich Pogodin (1800-1875) – 1872
Portrait of the writer Ivan Sergeevich Turgenev. 1872
Portrait of the composer P. S. Campioni. 1872
Cossack. 1873
Traveler. 1873
Holy fool, surrounded by wanderers. 1872
Head of a Kirghiz – a convict. 1873
Fedot and Arina. 1873
Evening on Great Saturday. 1873
Portrait of the merchant S. T. Kuznetsov. 1873
Gogol wird von den Gestalten seiner Werke zu Grabe getragen. 1873
Inveterate. 1873
Sad father. 1873-74
Scouts near Sevastopol. 1874
pigeon-fancier-1874
Reception of a wanderer. 1874
The return of the reapers from the field in the Ryazan province. 1874
Joyful father. 1874
The old man. Fragm. variant k. Old people – parents at the grave of their son. 1874
Old parents at the grave of their son – 1874
Botanist. 1874
Gossip Girl. 1875
Pugachev’s Court. 1875
Portrait of Anna Ivanovna Sergeeva, nee. Sheina. 1875
Peasant in the field. 1876
Portrait of Pyotr Ivanovich Nikolaev, Chairman of the Vladimir Zemstvo Council. 1876
Portrait of N. A. Kasatkin. 1876
Portrait of A. I. Kridener, born. Ivanova, the artist’s mother. 1876
fishing 1878
Blind. 1878
A janitor who gives an apartment to a mistress. 1878
Mother with a sick child. 1878
Portrait of A.K. Savrasov (1830-1897) – 1878
Christ in the Garden of Gethsemane. 1878
Executed Pugachevites. Rice. pencil and pen. 1878
Pugachev’s Court – 1879
Fishermen. (Priest, deacon and seminarian). 1879
Wanderer in the field. 1879
From the station. 1879
Blessed. 1879
On the traction. Pencil drawing. 1879
The return of the peasants from the funeral in winter. Beginning 1880s
Vasily Grigoryevich Perov was born between December 21 and 23, 1833 (January 2 or 4, 1834) and is the illegitimate son of Baron Georgy (Grigory) Karlovich Kridener , and A. I. Ivanova.
Even though his parents got married shortly after his birth, Vasily did not have the right to his father’s surname and title. And his nickname “Perov” which is his surname, was given to him by his literacy teacher for diligence and skillful writing.
In his childhood Vasily was ill with smallpox, which caused him to have poor eyesight for the rest of his life.
He became interested in painting after watching the work of an artist and went to study at the Arzamas art school of A. V. Stupin. But because he was so good he was allow to paint with oil paints before the other students, then sadly because of a dispute with another student, he didn’t finish school.
He went back home and began creating the composition ” Crucifixion ” written throughout Lent and completed on Holy Week then placed in a church located near the village of Nikolskoye.
He also painted a number of portraits and genre paintings: “A Beggar Begging”, ” Village Troika “, “Folk Festival in the Semik”.
In 1853, Vasily Perov entered the Moscow School of Painting, Sculpture and Architecture and graduated from college under the guidance of S.K. Zaryanko .
Perov presented the “Portrait of Nikolai Grigoryevich Kridener, the artist’s brother” to the Imperial Academy of Arts, and was awarded a small silver medal in 1856.
Portrait of Nikolai Grigorievich Rubinstein. 1870
This work was still closely connected with the traditions of art of the early 19th century, but already in subsequent works Perov acted as an innovator.
In 1857, the painting “Arrival of a police officer for investigation” brought the artist a large silver medal, and attracted the attention of the public and critics.
The arrival of the police officer for the investigation. 1857
In 1860, Perov was again awarded a small gold medal for the painting “First rank. The son of a sexton, promoted to collegiate registrars”, which established the artist as the heir to the satirical genre of the 1840s.
Now he could participate in the competition for a large gold medal, and painted “Sermon in the village” and “Rural religious procession at Easter”. He received a large gold medal in 1867 and the right to travel abroad as a boarder for the first painting.
Sermon in the village -1861
In 1862, Perov married Elena Edmondovna Sheins and they went abroad while he was himself a boarder at the Academy of Arts.
In 1863-1864 Perov lived and worked in Paris, but he wanted to go back home and having received permission from the Academy for an early return which included the continuation of boarding in Russia, he returned to Moscow.
Vasily Perov settled in the house of his wife’s uncle, F.F. Rezanov in Moscow and never left the city.
While still abroad, Perov conceived a large painting with a plot from monastic life, with these paintings, a new stage in the artist’s work began: from a satirical direction, he moved on to more dramatic stories – about “humiliated and offended.
In 1869, Vasily Perov and Myasoedov created the Association of Traveling Art Exhibitions (TPKhV). Vasily who was a board member for 7 years organized a Moscow group of Wanderers.
In 1870 he was awarded the title of professor by the Academy of Arts thanks to the paintings “Wanderer” and “Birdcatcher”, and received the first prize of the OPH for the painting “The Birdman”.
bird-catcher by Perov – 1870
In the 1970s, everyday life stories occupied a special place in Perov’s work. Then in 1871, Vasily was appointed teacher of the Moscow School of Painting and Art.
In 1871-1872 Perov, commissioned by P. M. Tretyakov, executed a number of portraits of Russian writers and scientists. Perov achieved such “truthfulness” in some portraits, which in Russian art was noted only by I. E. Repin and V. A. Serov .
Perov married Elizaveta Egorovna Druganova in 1872.
In 1873, his paintings “Fisherman” and “Hunters at rest” were presented at the World Exhibition in Vienna.
fisherman-1871
In 1877, Perov left the members of the TPHV and participated in the exposition of the World Exhibition in Paris a year later.
In the last years of his life, V. G. Perov collaborated with the journal ” Priroda i Okhota ” by L. P. Sabaneev and a number of his stories were published in the Art Journal which was published in 1881-1887.
His health was undermined by typhus and pneumonia in 1881 and Vasily Perov died of consumption , at the age of 49, in a small Golitsyn hospital near Moscow.
Perov was buried at the monastery cemetery in the Danilov Monastery where a mournful tombstone in the form of a cross on Golgotha was erected on his grave.
Later his ashes were reburied at the monastery cemetery in the Donskoy Monastery, and on the new grave of the artist, a monument was erected by the sculptor Alexei Evgenievich Yeletsky.
Certaines personnes disent que Noël n’est pas complet sans regarder “Casse-Noisette” qui est devenu le ballet le plus populaire de notre époque. C’est un symbole de la magie du Nouvel An, un ballet festif du grand compositeur russe PI Tchaïkovski.
“Casse-Noisette”, qui se distingue de la tradition du genre ballet, est un ballet innovant en deux actes de PI Tchaïkovski sur un livret de Marius Petipa. Il est basé sur le conte de fées de Noël « Casse-Noisette et le Roi des souris » écrit par ETA Hoffmann ainsi que sur son adaptation réalisée par Dumas, et a été chorégraphié par Lev Ivanov.
Pyotr Ilyich Tchaikovsky 1888.
Piotr Tchaïkovski a été invité à composer un opéra composé d’un acte et d’un ballet en 1890. Il a commencé à travailler sur le ballet avec Marius Petipa, le consultant constamment même à propos de la musique. Le travail va vite mais, au printemps 1891, Tchaïkovski est contraint de s’arrêter car il doit se rendre aux États-Unis pour l’ouverture du célèbre Carnegie Hall. Essayant de respecter la date limite du ballet, Tchaïkovski a réussi à composer même en route vers le bateau mais il n’a pas réussi et a été contraint de demander à Vsevolozhsky de reporter la première, lui envoyant une lettre de Paris.
Marius_Ivanovich_Petipa_1898
Dès le retour de Tchaïkovski, l’œuvre se poursuivit et fut complètement achevée en février 1892. Une suite très réussie de la musique du ballet orchestrée par Tchaïkovski lui-même fut jouée en mars 1992 dans l’un des concerts symphoniques de la Société musicale russe. À la demande du public, cinq des six numéros ont été répétés.
Konstantin Ivanov’s original sketch for the set of The Nutcracker (1892).
À ce moment-là, Petipa était gravement malade, mais il a laissé des instructions détaillées pour la production de “Casse-Noisette” à Lev Ivanov, qui était le deuxième chorégraphe du Théâtre Marinsky.
Les répétitions du ballet ont commencé fin septembre 1892, puis le 6 (18) décembre la première a eu lieu au Théâtre Marinsky où le ballet a joué pendant plus de 30 ans.
En 1923, la performance a été restaurée par le chorégraphe F. Lopukhov. Puis, en 1929, il crée une nouvelle version chorégraphique de la pièce, et au début de la Seconde Guerre mondiale l’héroïne du ballet qui s’appelait Clara change de nom et s’appelle désormais Masha, mais son frère Fritz qui est un personnage négatif garde son nom.
Aperçu de l’intrigue de “Casse-Noisette”
Title page of the edition of The Nutcracker’s Story (1845)
Les invités se rassemblent dans la maison Zilbergauz alors que la veille de Noël est arrivée. Les enfants admirent le magnifique sapin de Noël, mais attendent avec impatience les cadeaux tant attendus.
Finalement, l’horloge sonne minuit et un mystérieux invité, Drosselmeyer, apparait, apportant des cadeaux incroyables qui consistent en des poupées mécaniques qu’il a lui-même fabriqué. Sa capacité à donner vie aux jouets amuse non seulement les enfants, mais les effraie également. Ensuite, Drosselmeyer enlève son masque, et les enfants reconnaissent leur parrain préféré.
Le père ayant peur que les enfants cassent les poupées, ordonne de les enfermer dans un placard de son bureau ce qui bouleverse Clara. Pour calmer la jeune fille, son parrain lui donne le Casse-Noisette.
nutcracker
Mais son frère, Fritz casse accidentellement la poupée, et Clara ayant pitié de Casse-Noisette, l’allongea sur le lit de sa poupée préférée.
Fritz et ses amis mettent des masques de souris et commencent à taquiner Clara. Ensuite, il est temps pour les enfants d’aller se coucher, et chacun rentre chez lui après la danse traditionnelle du Grossvater, par les invités.
La pièce dans laquelle se trouve l’arbre est remplie de clair de lune à la tombée de la nuit.
Avant d’aller se coucher, Clara revient et embrasse Casse-Noisette. Et puis Drosselmeyer apparaît, mais maintenant il n’est plus parrain. Au lieu de cela, il est un gentil sorcier qui agite la main pour que tout dans la pièce commence à changer : les murs s’écartent, l’arbre commence à pousser et les décorations de Noël prennent vie et deviennent des soldats.
Soudain, des souris apparaissent sous la direction du roi des souris et, le brave Casse-Noisette mène les soldats au combat. Casse-Noisette et le Roi des souris se rencontrent dans un combat à mort.
Clara voit que l’armée de souris est plus nombreuse que l’armée de soldats, et en désespoir de cause, elle enlève sa chaussure et la jette de toutes ses forces sur le roi des souris. Il est blessé et s’enfuit avec son armée.
L’armée de soldats a gagné, et porte triomphalement Clara sur ses épaules jusqu’au Casse-Noisette.
Soudain, le visage de ce dernier commence à changer. Il cesse d’être Casse-Noisette et se transforme en un beau Prince. Il demande à Clara de le suivre et le couple disparaît dans les aiguilles luxuriantes du sapin de Noël et se retrouve dans une forêt hivernale de conte de fées. Les flocons de neige dansent, après leur danse tout s’apaise et la neige scintille dans la fabuleuse lumière de la lune.
Clara et le prince admirent la beauté du ciel étoilé et se souviennent comment ils ont été attaqués par les souris et comment le prince les a vaincus. Tout le monde danse, s’amuse et célèbre la victoire sur l’armée des souris. Des poupées espagnoles, arabes, chinoises et russes remercient Clara de leur avoir sauvé la vie.
Dans une ville magique, un couple heureux attend. La Fée Dragée elle-même est prête à les accepter. Le couple navigue dans une barque faite de coquillages dorés. Des personnages de contes de fées dansent pour le couple heureux.
Drosselmeyer apparaît et change à nouveau tout autour. Tout le monde se prépare pour le mariage de Clara et du Prince.
Ensuite, Clara se réveille avec le Casse-Noisette toujours entre les mains. Elle est dans une pièce familière. Hélas, ce n’était qu’un rêve…
Lisez « Casse-Noisette » en français ou regardez le ballet « Casse-Noisette »
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Some people say, that Christmas isn’t complete without watching “The Nutcracker” which has become the most popular ballet of our times. It is a symbol of New Year’s magic, a festive ballet of the great Russian composer P.I. Tchaikovsky.
“The Nutcracker” which stands apart from the tradition of the ballet genre is an innovative two-act ballet by P. I. Tchaikovsky to a libretto by Marius Petipa. It is based on the Christmas fairy tale ” The Nutcracker and the Mouse King ” written by E. T. A. Hoffmann as well as and its adaptation made by Dumas, and was choreographed by Lev Ivanov .
Pyotr Ilyich Tchaikovsky 1888.
Pyotr Tchaikovsky was asked to compose an opera consisting of one act and a ballet in 1890. He began working on the ballet with Marius Petipa, constantly consulting with him even about music. The job went fast but, in the spring of 1891, Tchaikovsky was forced to pause as he had to go to the United States for the opening of the famous Carnegie Hall. Trying to meet the deadline for the ballet, Tchaikovsky managed to compose even on the road on a streamer but he was unsuccessful and was forced to ask Vsevolozhsky to reschedule the premiere, sending him a letter from Paris.
Marius_Ivanovich_Petipa_1898
As soon as Tchaikovsky returned the work continued and was completely finished by February 1892. A very successful suite from the music from the ballet orchestrated by Tchaikovsky himself was played in march 1992 in one of the symphony concerts of the Russian Musical Society. At the request of the public five out of the six numbers were repeated.
Konstantin Ivanov’s original sketch for the set of The Nutcracker (1892).
By that time Petipa was seriously ill but he left detailed instruction for the production of “The Nutcracker” to Lev Ivanov who was the second choreographer of the Marinsky Theater.
The ballet rehearsals began at the end of September 1892, then on december 6 (18) the premiere was performed at the Marinsky Theater where the ballet played for more than 30 years.
In 1923, the performance was restored by the choreographer F. Lopukhov. Then, in 1929, he created a new choreographic version of the play, and when World War II began the heroine of the ballet whom had been called Clara was called Masha, but her brother Fritz who is a negative character kept his name.
Overview of the plot of “The Nutcracker”
Title page of the edition of The Nutcracker’s Story (1845)
The guests gather in the Zilbergauz house as Christmas Eve has arrived. Children admire the magnificent Christmas tree, but wait impatiently for long-awaited gifts.
Finally the clock struck midnight and a mysterious guest, Drosselmeyer, appeared, bringing incredible gifts which consist of mechanical dolls that he made them himself. His ability to bring toys to life not only amuses children, but also scares them. Then, Drosselmeyer takes off his mask, and the children recognize their favorite godfather.
The father being afraid that the children will break the dolls, orders them to be locked in a closet in his office which upset Clara. To calm the girl, her godfather gives her the Nutcracker.
nutcracker
But her brother, Fritz accidentally breaks the doll, and Clara pitying the Nutcracker, laid him on the bed of her favorite doll.
Fritz and his friends put on mouse masks and start teasing Clara. Then, it is time for the children to go to bed, and everyone goes home after the dance of the traditional Grossvater by the guests.
The room in which the tree is located is filled with moonlight as night falls.
Before going to bed, Clara returns and hugs the Nutcracker. And then Drosselmeyer appears, but now he is no longer a godfather. Instead he is a kind wizard who waves his hand making everything in the room beginning to change: the walls move apart, the tree begins to grow, and the Christmas decorations come to life and become soldiers.
Suddenly mice appear under the leadership of the Mouse King and the brave Nutcracker leads the soldiers into battle. The Nutcracker and the Mouse King meet in a fight to the death.
Clara sees that the army of mice outnumbers the army of soldiers, and in desperation, she takes off her shoe and throws it with all her might at the Mouse King. He is wounded and runs away with his army.
The army of soldiers won, and triumphantly carry Clara on their shoulders to the Nutcracker.
Suddenly, the latter’s face begins to change. He ceases to be the Nutcracker and turns into a handsome Prince. He asks Clara to follow him and the couple disappears into the lush needles of the Christmas tree and find themselves in a fairytale winter forest. Snowflakes dance, after their dance everything subsides, and the snow glistens in the fabulous light of the moon.
Clara and the Prince admire the beauty of the starry sky, and remember how they were attacked by mice, and how the Prince defeated them. Everyone is dancing, having fun and celebrating the victory over the mouse army. Spanish, Arabic, Chinese and Russian dolls thank Clara for saving their lives.
In a magical city, a happy couple is waiting. The Fairy Dragee herself is ready to accept them. The couple sails in a boat made of gilded shells. Fairy-tale characters dance for a happy couple.
Drosselmeyer appears and again changes everything around. Everyone is preparing for the wedding of Clara and the Prince.
Then, Clara wakes up with the Nutcracker still in her hands. She is in a familiar room. Alas, it was just a dream…
Read “The Nutcracker” in French or watch “The Nutcracker” Ballet
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Today is a verse called “Russia cannot be understood with the mind”. It was written in 1866, by an experienced diplomat, F. I. Tyutchev who spent a significant part of his life abroad and knew European countries very well.
This verse is often quoted, particularly nowadays, and its first line has become a catch phrase to denote a special Russian path of development. The Russians are reproached for not being able to formulate their national idea but this verse gives an answer to this. The national Russian idea lives in the souls of all Russians and cannot be expressed in words, or in some kind of logical systems.
“One can only believe in Russia” was written five years after the decree on the abolition of serfdom when the most advanced technologies and ideas coexisted with centuries of impassability, poverty and illiteracy. And that is this contrast that gave Tyutchev reason to assert that the development of Russia always proceeds according to its own special laws, which are inaccessible to the logical analysis of a European. Even the Russians themselves do not understand these laws, giving everything to the will of God, and over the centuries, a unique national character has developed in Russia. The main feature of a Russian person is to act not in accordance with the requirements of the mind, but to follow their hearts.
Федор Тютчев — Умом Россию не понять: Стих
Fedor Tyutchev – Russia cannot be understood with the mind: Verse
Умом Россию не понять,
Russia cannot be understood with the mind,
Аршином общим не измерить:
Or measured with a standard yardstick:
У ней особенная стать —
She has a unique destiny –
В Россию можно только верить.
In Russia, one can only believe.
I hope you enjoyed this verse as much as I did and that it brings you some understanding of what is happening now.
« Sirin et Alkonost » « Сирин и Алконост » de Viktor Mikhailovich Vasnetsov (Виктор Михайлович Васнецов) est une grande huile sur toile de 133 X 250 cm peinte en 1896. Ce n’est pas la peinture la plus populaire de l’artiste, mais sa symbolique est étonnante . “Sirin et Alkonost” est maintenant stocké dans la galerie nationale Tretiakov .
Viktor Vasnetsov a peint “Sirin et Alkonost – Oiseaux de Joie et de Tristesse”, avant les bouleversements révolutionnaires qui allaient se produire dans l’Empire russe semblant prévoir les changements qui se produiraient dans sa patrie. Sirin et Alkonost sont deux symboles inséparables, une paire d’opposés. Chagrin et joie, malheur et bonheur, noir et blanc… Dans ce tableau, Alkonost peut être vu comme symbolisant la victoire du bien sur le mal et, Sirin comme l’angoisse due aux changements.
Sirin et Alkonost sont des femmes-oiseaux mythiques similaires, comme des jumelles, mais en même temps, elles sont complètement différentes. Sirin est le messager noir de la tristesse, qui aspire à un paradis perdu, et Alkonost est le messager lumineux de la joie et du plaisir. Selon les croyances slaves, l’oiseau Sirin a volé dans le verger de pommiers, étant triste et en pleurs. Et dans l’après-midi, l’oiseau Alkonost a volé dans le même verger, se réjouissant et riant, ressentant la joie d’une récolte abondante. Alkonost a brossé la rosée vivante de ses ailes, conférant aux fruits des propriétés magiques et curatives.
Les branches avec des femmes-oiseaux assises dessus se trouvent de différents côtés du tronc d’un arbre. Sirin, qui est la personnification de l’effacement et de la tristesse, est du côté gauche, “mauvais”, selon les légendes slaves, mais c’est un côté qui est étroitement uni au cœur. Alkonost, qui incarne la béatitude, les rêves, et la joie est du bon « bon » côté.
Brève description de la peinture
Au premier plan des peintures se trouvent deux demoiselles oiseaux Sirin et Alkonost assises sur des branches qui proviennent du même arbre et au même niveau, mais sur les côtés opposés du tronc.
L’arrière-plan de l’image montre un ciel orange matinal contrastant avec les deux oiseaux-jeunes filles et l’arbre.
Sirin
Sirin and Alkonost by Vasnetsov part Sirin’s faceSirin and Alkonost by Vasnetsov part SirinSirin and Alkonost by Vasnetsov part Sirin’s claws
Perché sur la gauche de l’arbre, le premier des oiseaux fantastiques, Sirin est représenté avec un visage, un cou et des épaules humains tandis que le reste de son corps ressemble à un oiseau. Son visage est pâle et ses yeux sont remplis de larmes. Elle a le plumage et les cheveux foncés. Ses ailes sont fermées de manière protectrice, comme si elles se cachaient de l’aube à venir. Elle est adornée d’une belle couronne d’or ornée d’animaux, de boucles d’oreilles dorées et d’un triple collier.
Alkonost
Sirin and Alkonost by Vasnetsov part Alkonost
On peut voir qu’Alkonost représente la joie et le bonheur car elle a un plumage de couleur claire, seul le haut de ses ailes étant brun. En tant que «jumelle opposée», elle a un corps d’oiseau et des ailes avec un visage et une épaule humain. Son visage est heureux et on dirait qu’elle chante. Elle porte une couronne d’or, des boucles d’oreilles et deux colliers. Ses ailes sont ouvertes, mais comme sa «jumelle opposée», elle a de puissantes griffes.
Dans le tableau, Sirin, aspirant au passé, et Alkonost, ouverte à l’avenir, sont fusionnés en un tout unique et indivisible. Elles, comme des compagnons inoubliables, accompagnent les gens tout au long de leur existence, modérant les grandes joies et soulageant les chagrins lourds. Ainsi, selon le maître, une grande harmonie de vie se forme.
J’espère que vous avez apprécié cet article, vous pouvez également consulter d’autres peintures de Viktor Mikhailovich Vasnetsov.
“The three Bogatyrs” by Viktor Vasnetsov’sThe Knight at the Crossroad by Viktor Mikhailovich Vasnetsov“The Flying Carpet” by Vasnetsov“The Flying Carpet” by Vasnetsov
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“Sirin and Alkonost” «Сирин и Алконост» by Viktor Mikhailovich Vasnetsov (Виктор Михайлович Васнецов) is a large oil on canvas of 133 X 250 cm painted in 1896. It is not the artist’s most popular painting, but its symbolism is amazing. “Sirin and Alkonost” is now stored in the State Tretyakov Gallery.
Viktor Vasnetsov painted “Sirin and Alkonost – Birds of Sorrow and Joy”, before the revolutionary upheavals that were soon to happen in the Russian Empire and seemed to foresee the changes that would take place in his homeland. Sirin and Alkonost are two inseparable symbols, a pair of opposites. Grief and joy, misfortune and happiness, black and white… In this painting, Alkonost can be seen as symbolizing the victory of good over evil and, Sirin as the anxiety due to changes.
Sirin and Alkonost are similar mythical bird-maidens, like twins, but at the same time, they are completely different. Sirin is the dark messenger of sadness, who is longing for a lost paradise, and Alkonost is the bright messenger of joy and pleasure. According to Slavic beliefs, the Sirin bird flies into the apple orchard, being sad and crying. And in the afternoon, the Alkonost bird flies to the same orchard, rejoicing and laughing, feeling the joy of a bountiful harvest. Alkonost brushes the live dew from its wings endowing the fruits with magical, healing properties.
The branches with bird-maidens sitting on them are on different sides of a tree trunk. Sirin, who is the personification of fading and sadness, is on the left, “bad” side, according to Slavic legends, but it is a side that is closely united with the heart. Alkonost, who embodies bliss, dreams, joy is on the right “good” side.
Short description of the painting
In the forefront of the paintings are two bird-maidens Sirin and Alkonost seated on branches which are from the same tree and at the same level, but on opposite sides of the trunk.
The background of the painting shows a morning orange sky contrasting with the two bird-maidens and tree.
Sirin
Sirin and Alkonost by Vasnetsov part Sirin’s faceSirin and Alkonost by Vasnetsov part SirinSirin and Alkonost by Vasnetsov part Sirin’s claws
Perched on the left of the tree, the first of the fantastic birds, Sirin is depicted with a human face, neck and shoulders while the rest of her body resembles a bird. Her face is pale and her eyes are filled with tears. She has dark plumage and hair. Her wings are closed in a protective manner, as if hiding from the coming dawn. She is adorned with a beautiful golden crown decorated with animals, golden earrings and a triple necklace.
Alkonost
Sirin and Alkonost by Vasnetsov part Alkonost
We can see that Alkonost represents joy and happiness because she has a light colored plumage, with only the top of her wings being brown. As her “opposite twin” she has a bird body and wings with human face and shoulder. Her face is happy and it looks like she is singing. She is wearing a golden crown, earrings and two necklaces Her wings are opened, but like her “opposite twin” she has powerful claws.
In the painting, Sirin, aspiring to the past, and Alkonost, open to the future, are merged into a single and indivisible whole. They, like unforgettable companions, accompany people throughout their existence, moderating great joy and alleviating heavy grief. Thus, according to the master, a great harmony of life is formed.
I hope you enjoyed this article, you can also check out other paintings by Viktor Mikhailovich Vasnetsov.
“The three Bogatyrs” by Viktor Vasnetsov’sThe Knight at the Crossroad by Viktor Mikhailovich Vasnetsov“The Flying Carpet” by Vasnetsov“The Flying Carpet” by Vasnetsov
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