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Découvrez le tableau “Sur la Volga” de Nikolai Nikanorovich Dubovskoy

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“Sur la Volga” (На Волге) est une huile sur toile de 141,5 X 190,5 cm peinte par Nikolai Dubovskoy (Николай Дубовской) en 1892. Elle est actuellement située dans la Galerie Tretiakov.

Cette belle peinture de genre de paysage et de marine représentant le large fleuve la Volga à plein débit est l’une des œuvres majeures de Dubovskoy.

On the Volga by Nikolai Dubovskoy 1892 — Sur la Volga par Nikolai Dubovskoy 1892

Depuis 1884, les peintures de Dubovskoy ont été présentées exclusivement lors d’expositions itinérantes. Il a été admis à l’Association des expositions d’art itinérantes en 1886 et est devienu l’un de ses membres les plus actifs.

À partir de la peinture “Calme” en 1890, l’une des tendances importantes des paysages de Dubovskoy était le thème des vastes étendues d’eau.

«Sur la Volga» présentée à la 20e exposition de l’Association des expositions d’art itinérantes en février 1892 à Saint-Pétersbourg a été largement apprécié par les spectateurs et les critiques et a été acheté par Tretiakov la même année.

Une esquisse de l’étude de “Sur la Volga” se trouve également à la galerie Tretiakov. C’est une huile sur toile de 24 X 32 cm.

On the Volga study 1892 by Dubovskoy — Sur la Volga – étude 1892 par Dubovskoy

Description de la peinture

La majeure partie de la toile est occupée par le ciel et l’eau. La Volga qui s’étend jusqu’à l’horizon est perçue comme une mer sans fin. La rivière est calme, il n’y a pas de vagues.

La ligne d’horizon très basse et à peine perceptible dans laquelle l’eau se confond avec le ciel crée une impression d’immensité.

Dans le tableau «Sur la Volga», l’artiste utilise «une gamme finement nuancée de tons lilas», et la palette de couleurs du paysage est basée sur des transitions douces. Des tons bleu-brun sont utilisés au premier plan de la partie ombragée de l’eau, et des nuances lilas-opale sont utilisées plus près de l’horizon, tandis que des tons argentés-bleuâtres sont utilisés pour représenter le ciel.

On the Volga (part sky) by Nikolai Dubovskoy 1892 — Sur la Volga (ciel en partie) par Nikolai Dubovskoy 1892

En regardant le ciel, nous pouvons voir des nuages flotter dans le ciel, sur lesquels de doux reflets du soleil sont visibles.

On the Volga (part reflection on water) by Nikolai Dubovskoy 1892 — Sur la Volga (réflexion partielle sur l’eau) par Nikolai Dubovskoy 1892

L’eau comme un miroir reflète tout ce qui l’entoure, comme le ciel et les bateaux.

On the Volga (part boats) by Nikolai Dubovskoy 1892 — Sur la Volga (partie bateaux) par Nikolai Dubovskoy 1892

Pour montrer la taille de la rivière, des bateaux de pêche se tiennent sur l’eau calme et semblent très petits. On peut également apercevoir des figures de pêcheurs sur une étroite bande de hauts-fonds sur le côté droit de la toile, ainsi que des goélands.

La taille relativement petite des bateaux et des pêcheurs souligne non seulement l’immensité de l’espace qui les entoure, mais montre également le lien du fleuve avec la vie des personnes vivant et travaillant sur ses rives .

Quiet by Nikolai Dubovskoy — Calme par Nikolai Dubovskoy

J’espère que vous apprécierez ce tableau autant que moi. Vous pouvez également lire au sujet du tableau “Calme” de Nikolai Nikanorovich Dubovskoy

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Discover the painting “On the Volga” by Nikolai Nikanorovich Dubovskoy

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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.

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.

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.

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.

Looking at the sky, we can see clouds floating across the sky, on which soft reflections of the sun are visible.

The water like a mirror reflects everything around it, like the sky, and boats.

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 .

I hope your enjoy this painting as much as I did. You can also read about the painting “Quiet” by Nikolai Nikanorovich Dubovskoy

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Découvrez le tableau « Calme » de Nikolai Nikanorovich Dubovskoy

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Le tableau « Calme » (Притихло), appelé « paysages d’humeur » est l’une des œuvres les plus célèbres et les plus significatives de Nikolai Dubovskoy (Николай Дубовской). Il s’agit d’un paysage qui est une huile sur toile de 76,5 X 128 cm achevé en 1890 et appartenant aujourd’hui au Musée d’État russe de Saint-Pétersbourg. La peinture a été exposée pour la première fois à la 18ème exposition de l’Association de l’Exposition d’Art Itinérante avec un grand succès. L’empereur Alexandre III l’a immédiatement acheté, et Nikolaï Dubovskoy a dû en faire une répétition pour Pavel Tretiakov qui voulait également l’acheter. La répétition de 86 X143 cm se trouve à la Galerie d’État Tretiakov à Moscou.

Nikolai Dubovskoy - Quiet - 1890 — Nikolai Dubovskoy – Quiet – 1890

Lors de la peinture du tableau «Calme», l’artiste a utilisé un croquis peint sur la côte baltique. Dans l’une de ses lettres, Nikolai Dubovskoy a écrit: « Le motif de la création de cette image était ce sentiment excitant qui a pris possession de moi à plusieurs reprises en observant la nature à un moment de silence avant un gros orage ou dans les intervalles entre deux orages, quand il est difficile de respirer, quand vous sentez votre insignifiance à l’approche des éléments. Cet état de nature – le silence avant un orage – peut être exprimé en un mot, «Calme». C’est le titre de mon tableau. »

Il y a plusieurs autres répétitions de l’auteur de la peinture. L’une de 1896, se trouve au musée d’art de Poltava. Une autre, datée de 1913-1915, appartient au musée d’art régional de Samara.

Il y a aussi une répétition d’auteur non datée qui se trouve au Musée régional des beaux-arts de Rostov, ainsi qu’au Musée national d’art de Biélorussie. Il y a une répétition intitulée « Un nuage approche » de 1912 qui se trouve au Musée Novocherkassk de l’histoire des Cosaques du Don.

La collection Musée-Réserve historique, artistique et architectural de Vladimir-Souzdal comprend également une répétition de l’huile sur toile de 69 × 112 cm des années 1890, et dans la galerie d’art régionale de Vologda, il y a une répétition de « Calme. Un nuage arrive », daté de 1912.

A cloud is coming (1912, NMIDC) — *A cloud is coming* (1912, NMIDC)

Une autre de 1890, également une huile sur toile de 85,6 × 133 cm est dans la collection du Zimmerli Museum de l’Université Rutgers situé à New Brunswic, New Jersey, États-Unis.

Description de la peinture

La peinture représente un paysage marin. Des nuages d’orage occupant presque toute la partie supérieure, pendent au-dessus de l’eau. Leur partie supérieure éclairée par le soleil ressemble à du coton blanc et la partie inférieure est remplie de noirceur inquiétante.

Il n’y a pas de vent, et les nuages clairs et sombres se reflètent dans l’eau lisse et noircie.

Au loin, vous pouvez voir la bande sombre de la côte, sur laquelle se trouvent des maisons d’un village. Les cimes rouge orangé vif des arbres et des buissons, se détachant sur le fond d’une forêt sombre, soulignent la tension de l’atmosphère.

Nikolai Dubovskoy - Quiet - 1890 - part boat — Nikolai Dubovskoy – Quiet – 1890 -part boat

Si vous regardez de près, sur la surface lisse et presque brillante de l’eau, vous pouvez voir un petit bateau qui se déplace vers le rivage avec un rameur. Mais la terre est encore loin, ce qui ne peut qu’inspirer la peur chez le propriétaire de ce bateau. Il semble que ce petit navire soit tellement sans défense contre un orage qui approche qu’il est sur le point de se perdre quelque part dans les vagues de la mer.

L’état de nature tendu avant la tempête est clairement ressenti, en regardant les nuages de pluie menaçants, il semble que quelque chose de terrible est sur le point de se produire. Mais le sentiment d’impuissance d’une personne devant les éléments naturels, exprimé par Dubovsky dans le tableau « Calme », ne doit pas être pris comme son contenu principal. On ne peut pas supposer que le but de l’artiste était la glorification des éléments et son pouvoir sur les gens. En témoigne le fait que pour l’image, il n’a pas choisi la tempête elle-même, mais le moment qui la précède. Un petit bateau se dirigeant vers le rivage et s’efforçant de l’atteindre le plus rapidement possible ne souligne pas du tout l’impuissance d’une personne car nous ne savons pas si le rameur atteindra le rivage en toute sécurité, cependant, dès que nous le remarquons, nous ne pouvons que souhaiter qu’il atteigne le rivage en toute sécurité.

J’espère que vous avez apprécié cette peinture autant que moi

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Discover the painting “Quiet” by Nikolai Nikanorovich Dubovskoy

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The painting “Quiet” (Притихло), which is referred as “landscapes of mood” is one of the most famous and most significant works of Nikolai Dubovskoy (Николай Дубовской). It is a landscape which is an oil on canvas of 76.5 X 128 cm completed in 1890 and now belonging to the State Russian Museum of Saint Petersburg. The painting was first exposed at the 18th exhibition of the Association of Traveling Art Exhibition with great success. Emperor Alexander III immediately purchased it, and Nikolai Dubovskoy had to make a copy for Pavel Tretyakov who also wanted to buy it. The copy of 86 X143 cm is in the State Tretyakov Gallery in Moscow.

When painting the painting “Quiet”, the artist used a sketch painted on the Baltic coast. In one of his letters, Nikolai Dubovskoy wrote: “The motive for creating this picture was that exciting feeling that took possession of me many times when observing nature at a moment of silence before a big thunderstorm or in the intervals between two thunderstorms, when it is difficult to breathe, when you feel your insignificance at the approach of the elements. This state in nature – the silence before a thunderstorm – can be expressed in one word, “Quiet”. This is the title of my painting.”

There are several more author’s repetitions of the painting. One from 1896, is in the Poltava Art Museum. Another one, dated 1913-1915, belongs to the Samara Regional Art Museum.

There is also an undated author’s repetition is in the Rostov Regional Museum of Fine Arts, as well as in The National Art Museum of Belarus. There is a repetition called “A cloud is approaching” from 1912 which is in the Novocherkassk Museum of the History of the Don Cossacks.

The collection Vladimir-Suzdal Historical, Artistic and Architectural Museum-Reserve also include a repetition of the oil on canvas of 69 × 112 cm from 1890s, and in the Vologda Regional Art Gallery there is a repetition of “Quiet. A cloud is coming”, dated 1912.

Another one from 1890, also an oil on canvas of 85.6 × 133 cm is in the collection of the Zimmerli Museum of Rutgers University situated in New Brunswic, New Jersey, USA.

The painting depicts a seascape. Thunderclouds occupying almost the entire upper part, hang over the water. Their upper part illuminated by the sun, resembles white cotton wool, and the lower part is filled with ominous blackness.

There is no wind, and light and dark clouds are reflected in the smooth and blackened water.

In the distance you can see the dark strip of the coast, on which there are houses of some village. Bright orange-red crowns of trees and bushes, standing out against the background of a dark forest, emphasize the tension of the atmosphere.

If you look closely, on a smooth, almost glossy surface of the water, you can see a tiny boat that is moving towards the shore with a rower. But the land is still far away, which cannot but inspire fear in the owner of this boat. It seems that this small ship is so defenseless against an approaching thunderstorm that it is about to get lost somewhere in the sea waves.

The tense state of nature before the storm is clearly felt, looking at the menacing rain clouds, it seems that something terrible is about to happen. But the feeling of a person’s helplessness in front of the natural elements, expressed by Dubovsky in the painting “Quiet”, should not be taken as its main content. It cannot be assumed that the artist’s goal was the glorification of the elements and its power over people. This is evidenced by the fact that for the image he chose not the storm itself, but the moment preceding it. A small boat heading towards the shore and striving to reach it as quickly as possible does not at all emphasize the impotence of a person as we do not know whether the rower will reach the shore safely, however, as soon as we notice him, we cannot but wish that he reaches the shore safely.

I hope you enjoyed this painting as much as I did

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Girl With Peaches by Valentin Serov

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The painting “Girl with Peaches” («Девочка с персиками») is a recognized masterpiece of the Russian artist Valentin Aleksandrovich Serov (1865-1911) (Серов Валентин Александрович). It was painted in 1887 and is an oil on canvas measuring 91 x 85 cm, now located in the State Tretyakov Gallery in Moscow. This is one of the first and most significant works in the direction of Russian impressionism for which it paved the way. This picture combines several genres: there is a landscape , a still life , and a portrait .

Valentin Serov first went to the Abramtsevo estate in 1875 with his mother, and growing up continued to often visit the estate.

Serov wrote “Girl with Peaches” when he was not yet 22 years old. Valentin Aleksandrovich sought to create not just a portrait, but a living picture that reflected a moment in life. He was inspired by the beauty and spontaneity of Verusha, and invited the 11-year-old Vera Mamontova to pose after seeing her running into the house, taking a peach, and sitting down at the table. Vera posed for Serov every day for almost two months.

The expressiveness of the picture is given by bright details, a play of highlights and a young image of the heroine of the portrait. The artist placed the girl in an atmosphere of a carefree sunny day, ripe peaches and a cozy dining room. The peculiarity of this portrait was that Serov added to it elements of a still life (fruits on the table, a knife, leaves) and a landscape (a garden outside the window). This technique allowed to expand the general meaning of the picture.

In the center of the composition is Mamontov’s daughter Verochka. She is sitting at a large table covered with a white tablecloth, and there are several chairs with high backs nearby. The objects in the room indicate that the girl lives in a wealthy family, and many chairs in the dining room are reminiscent of a large family.

The girl is dressed in a light pink loose blouse with a turn-down collar and a puffy bow. This bow tells about the romantic and bright character of the girl. There is no feeling that she was preparing to pose. The artist deliberately left her hair the way they were, sticking out in unruly curls. She certainly frolicked in the garden and wants to run to play again. It seems hard for her to sit still. There is a blush on her cheeks, making her look like the peaches that lying on the table. The happy look of the girl says that she lives among people who love her.

She holds a peach in her hands, which look very tanned. We can say that the girl spent the summer outdoors outside the city. Three more fruits and a silver carving knife lie on the table nearby. The peaches are beautifully combined with yellow leaves which talks about the time of fruit ripening. It can be seen that the objects were not laid out on purpose, but the moment was chosen spontaneously. The peaches have their own history. They were raised in a greenhouse by a gardener specially hired by the owner of the estate. These fruits indicate the prosperity of the owners of the estate and a penchant for the exotic.

The girl is surrounded by various objects. We see the backs of the chairs around the dining table. Behind the girl is a figure of a grenadier, reminiscent of the children in the house.

There is a painted plate on the wall. The plate is drawn as a tribute to Savva Mamontov, who was fond of pottery arts.

Another detail that reflects an outstanding intuitive impressionist in Serov is as if a random edge to the composition. The door on the girl’s right, a half of a chair cut by the frame give the image a look of reality, spontaneous and relaxed. The art historian Mark Copshitzer noted, ” a chair, part of which is captured on canvas, has its continuation beyond the space of the painting, it marks the beginning of the whole world which did not appear on the painting, with its chairs and tables, and other peaches, and the other girls”.

Outside the window, the garden begins to turn yellow. Summer is coming to an end. Maple leaves, in turn, are depicted because the artist began work on the canvas in the height of summer, and finished only in September. In addition, maple autumn leaves create a special contrast in comparison with ripe peaches, reminiscent of the transience of everything and the need to enjoy the sun, as well as everything that happens around.

Serov achieved a fantastic effect of lightness and freshness by placing the light source behind the model. Shining through the leaves, the sun’s rays reflecting off the tablecloths and the girl’s blouse, it adds pink and gold to the space around the subject. Warm, delicate colors, soft reflected light, a lot of air were unusual for Russian painting of those years.

The main difference from the canvases of other portrait painters is the fullness of light. The main character sits in front of the window and is well lit, sun glare on all objects, on hair and clothes. Light dissolves the contours of objects, this brings the work closer to the canvases of the French Impressionists.

The statement of the author himself about the idea of the picture has been preserved. He wrote that he wanted to achieve a special freshness in his painting. The girl was supposed to look in the picture the same as on that summer day. The bright image of Vera coincided with how the artist imagined beauty. The author dreamed of conveying on canvas the joy of life that surrounds the girl and lives in her.

The artist succeeded superbly. Together with him we admire the carefree world of childhood. These moments are especially valuable because they pass quickly. The transience of time is reminiscent of autumn leaves in the foreground of the picture and the coming autumn outside the window. You can feel the philosophical message in the picture. The artist shows the transience of time. Summer changes very quickly, and youth also passes quickly.

I hope you enjoyed this painting as much as I did.

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