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

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

Artist: Valentin Aleksandrovich 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 grown-up girl, because this portrait was already considered impressionistic then - there is too much light and unconscious half-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 strangely 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.

“Girl with Peaches” is certainly the most famous painting by V. Serov. The canvas was painted by a young artist in the summer of 1887 in the estate of S.I. Mamontov. The teenage girl depicted on the canvas is Mamontov's daughter, twelve-year-old Verochka.

The picture was difficult to create - the work took more than three months - but it seems to us that the work was created quickly, in a fit of happy insight. What qualities of this picture make it so inexplicably attractive to the viewer?

Probably, the secret of the beauty of this work is simple - the painter managed to convey the thrill of an elusive moment, but at the same time give the picture completeness, completeness. A dark-skinned girl in a bright blouse with a bow is sitting at the table. It seems to us that she sat down for a moment, mechanically took a peach in her hand, and in a moment she will start up like a butterfly and fly back into the garden.

The girl has delicate skin, dark eyes with bluish whites and the same dark hair. Simply, with a barely noticeable smile, she looks at us. She has a peach in her hand, on the tablecloth next to it are peaches, a knife, maple leaves… The room is flooded with sunlight. The sun's rays, penetrating into the room, gently fall on the table, and on the girl's hands, and on the antique furniture of the winter dining room ...

The picture captivates the viewer with the freshness of color, and the harmony of the artistic image, and the amazing inner harmony, and great vitality. Using impressionistic techniques, in particular the free vibration of a stroke, Serov with great skill conveys the play of light, its saturation, and how the shadows fall.

And most importantly - with the help of a small picture, the artist managed to tell a whole novel about a girl, about her character, feelings - as bright and pure as her appearance. The painting "Girl with Peaches" is an ode to spring, the charm of youth and spontaneity, to everything that delights and pleases us in life.

In addition to the description of the painting by V. A. Serov “Girl with Peaches”, our website has collected many other descriptions of paintings by various artists, which can be used both in preparation for writing an essay on a painting, and simply for a more complete acquaintance with the work of famous masters of the past .

The painting by the artist Valentin Serov “Girl with Peaches” is familiar even to those people who are very far from art. Those people who are passionate about the artist's work are aware that the picture was painted from 11-year-old Vera Mamontova, the daughter of a famous industrialist and philanthropist, who was a great friend of Valentin Alexandrovich.

The artist himself, due to innate modesty, did not have such a high opinion of his own creation., and even in a friendly conversation with I. E. Grabar, he reproached him for giving the portrait an overestimation in one of his written works on the development of Russian fine art.

The meaning of the painting "Girl with peaches"

Serov often complained that while painting the portrait of the young Vera, he made her sit still for hours, thereby losing a certain stream of freshness that he so insistently wanted to breathe into his picture. The process of painting the canvas dragged on for several months, during which the master had to pretty much torture the daughter of a wealthy patron. However, the result, as it turned out, exceeded all the expectations of the artist himself.

At the table, which is depicted in the picture, a noisy company often gathered, consisting of family members and numerous guests. He was in the dining room of the Mamontovs in an enfilade-type room.

"Girl with Peaches" Serov wrote when he was not yet 22 years old, and a quarter of a century later, after the death of the brilliant artist, Grabar published a monographic work about him, stating that the master himself did not fully realize the great significance of his work, not only for his contemporaries, but also for all subsequent generations. According to Grabar, this study managed to become one of the most significant works of art, which marked a whole layer of the great culture of Russia.

Already a couple of years after the tragic death of the artist, it was difficult to find such an original model as the teenage girl Vera Mamontova, who has inexpressible, wonderful and truly Russian features. One look at the famous painting by Serov for people who are more or less versed in art will be quite enough to determine for sure that the action described in the picture takes place on the estate of a wealthy landowner. What is happening outside the window is hidden from the eyes of the observer, however, you can intuitively guess that behind it there are neat paths sprinkled with sand, beautiful park alleys and other elements inherent in an old Russian estate.

The peaches were not bought, but grown in the winter garden of the estate owned by the Mamontovs. The fruit trees were purchased from Zhilkino and Artyomovo estates, and looked after by the same specialist from whom they bought the peach trees.

History preceding the appearance of the picture

This canvas appeared as a result of friendly relations between Valentin Alexandrovich and the Mamontovs. Antosha, as people from the inner circle called Serov, had a penchant for a painstaking and unhurried manner of work, therefore young Vera had to sit motionless at the table for a long time. The master himself, knowing about the peculiarities of the protracted process of creating his own canvases, apologized to the model as much as he could and made every effort to quickly complete his outstanding work.

The idea to paint a portrait of the young Vera Mamontova came to Serov when she ran into the house, out of breath from cheerful street games and grabbed a peach. Valentin Alexandrovich was so impressed by her cheerfulness, openness and positive appearance that he invited 11 girls to become his model.

“Girl with Peaches” is one of the first serious works of the artist, which became his “lucky ticket” to a further successful creative career that Serov developed, who later became the best portrait painter of his time. Verusha (or Mamontova Vera Savvishna) was the favorite of all the inhabitants of the house, and there was an “invisible father’s light” in her, which the young Serov tried to convey as clearly as possible. Vasnetsov, who was an honorary member of the Abramtsevo circle, believed that Valentin Alexandrovich managed to find the very type of charming Russian beauty that many other authors could not find.

Description of the picture

The painting depicts a young girl with swarthy skin in a light jacket, decorated with an elegant bow. The artist tried to capture the moment, therefore, when looking at the canvas, it is hard to believe that Verusha sat in a similar position for many days. It seems as if she literally sat down at a large table for a second, mechanically grabbed a peach lying on it, and the next moment she, like a butterfly, will fly away to frolic in a lush garden lying just outside the window.

Many objects depicted in the picture have a special symbolism. For example, the plate is drawn as a tribute to those passions that Savva Mamontov, who was fond of applied arts and pottery, was engulfed in. 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.

The girl is the owner of delicate skin with dark expressive eyes and the same dark hair. Sitting at the table with a barely perceptible smile on her face, she looks at the observer with a simple open look. In her hands is a peach, next to her on the surface of the table there are also maple leaves, a knife and peaches. The room in which the action takes place is filled with sunbeams, gently lying on pieces of antique furniture, on Verusha's hands and on the table.

The canvas is simply striking in how harmoniously the artist managed to reveal the image, filling it with an excellent degree of vitality, realism and freshness of color. In working on this picture, the young Serov used some of the techniques he borrowed from the Impressionists, such as, for example, the free vibration of a brushstroke.

The view from the window shown in the picture opens onto a terrace adjacent to the Red Living Room. In this room, which is partially visible on the canvas, various friends and acquaintances of the family of the philanthropist Mamontov constantly gathered, staged amateur theatrical performances, read Turgenev, Gogol, Pushkin in the roles, played music and held lively debates.

With great professionalism, the master managed to display the play of light and shadow, however, the most significant is that, through one work, he managed to tell the viewer a whole story about the feelings and character of a pure and bright girl, whose further fate, however, was very tragic. However, at the time of writing the portrait, no one thought about future events, and the portrait remained in the memory of contemporaries as a real ode to youthful spontaneity, charm, spring and everything that never ceases to delight and delight people in everyday life.

The fate of "Girls with Peaches"

In 1903, Vera Mamontova became the wife of Alexander Samarin, who was the Minister for Church Affairs and part-time leader of the Moscow nobles. The wedding ceremony took place at the place where the exit from the Arbatskaya metro station of the capital is now located. During the revolution of 1917, the church was destroyed by the communists, but today a small chapel rises on the same pedestal. Having become the mother of three children, she died at the age of 32 from severe pneumonia.

Alexander Samarin, after the death of Vera, did not remarry and built a temple of the Life-Giving Trinity not far from their estate, which was plundered during the proletarian coup and used as a warehouse.

Later, Alexander, along with his daughter Lisa, was sent into exile and died in the Gulag in 1932.

Fact

This work has become the most famous for all of Serov's creative activity, and the master is considered one of the best portrait painters of his era. To date, the picture can be seen by visiting the State Tretyakov Gallery.

On the canvas we see a girl sitting at a table. Peaches are scattered on the table and one of them is in the girl's hand. It seems that the girl just ran into the room to grab a peach and run back to meet her friends. There is some impatience and displeasure in the girl’s eyes that she is being detained and forced to do more boring things. It is just as difficult to sit quietly at the table and pose for the artist when the sun is shining outside the window and you want to run and enjoy the warm days!

This work was created by the famous artist Serov, when he was still very young. And this is one of his first works, which was immediately liked by the Moscow public. Although the artist himself, due to his natural modesty, believed all his life that such an enthusiastic attitude towards this work was too high.

The girl's name is Vera. This is the daughter of Savva Mamontov, a well-known businessman of that time and a close friend of the artist. She really was a very mobile and cheerful child, and it was difficult for her to sit still. Moreover, the picture was written for a very long time. Serov began work in the summer, and it was completed in early autumn. This can be guessed from the casually scattered maple leaves next to the peaches on the table.

But all this airiness, thirst for life and energy of youth was very accurately conveyed by the artist. For this, "Girl with Peaches" is considered one of his best works.

Description of the painting Girl with peaches (Serov) 6th grade, 3rd grade

In the picture V.A. Serov "Girl with Peaches" depicts the twelve-year-old daughter of the merchant Mamontov Vera.

The painting depicts morning or noon. The central place is occupied by a girl sitting at a table in the living room. She has dark skin, dark eyes, and dark curly hair. She tries to look serious, but the childish spontaneity breaks out. I want to laugh, but I can't. Here are the lips and tightly compressed. The nostrils are slightly inflated, a blush plays on her cheeks, her hair is disheveled - apparently, the girl has just come running from the street and still cannot catch her breath. Black brows add to the expression of the face. In her youth, this beautiful girl will break more than one man's heart. Fine facial features indicate that this young creature is the offspring of an aristocratic family. With thin fingers she holds a delicious peach. The girl is dressed in a pink-pearl blouse with a black bow and a rose.

Prosperous merchant's house. Everything is good and solid. In the middle of the living room is a large table and two dark chairs. The rest of the chairs are not visible in the picture, but they are. This is a large dining table where the whole family gathers and chairs, so there should be a lot. The table is covered with a white linen tablecloth, the edges of which are tucked up on top of the table so that they do not hang down and interfere with cleaning. On the lapel are three ripe peaches, maple leaves and a table knife. The girl is holding another peach in her hands. As you know, peaches do not grow in the Moscow region, they are brought from the southern regions. And they have a great price. Only a rich person could afford to buy this delicacy for his family. He loves and spoils his children.

In the background you can see a window without curtains and tulle. Through them, the light gently fills the room with warmth and tranquility. It fills all its space, is reflected both on the plate hanging on the wall and on the silver knife. The servant monitors the condition of the silverware. Outside the window, the leaves of the trees turn yellow, but the green foliage is still preserved on the trees. Outside is the beginning of autumn, September. Behind the girl's back is a small table with drawers, on which there is a candlestick. It contained paper and pens.

The meaning of the picture is that the most valuable and dearest thing in life is children. They are a continuation of the family. Everything for them - and ripe peaches, and beautiful outfits, and a warm summer or autumn day.
The painting is exhibited at the Tretyakov Gallery.

Composition based on the picture Girl with peaches for grade 6

Serov's painting "Girl with Peaches" was painted in the last century. This illustration shows a teenage girl sitting at a table covered with a white tablecloth. This piece of furniture creates a light background. There are ruddy peaches on it. The young creature holds one fruit in his hands. The beauty of the still life is emphasized by carved maple leaves scattered next to the fruits.

The girl seems to have just come running from the garden, where she picked the fruits and is going to have breakfast with them. This is told by a silver table knife lying nearby on the table. The young lady is very beautiful: she has an oval, tanned, ruddy face. Large expressive dark eyes look straight ahead. With her light airy appearance, she resembles an elf who appeared from a fairy tale. The face of the heroine is framed by black curls that casually scattered on her head. The capricious fold of the lips shows that the girl is a little eccentric and windy. Aristocratic, delicate facial features tell us that the young lady is from a wealthy family. The girl is wearing a pink blouse with a large black and red bow in the middle.

Ancient utensils: chairs, a candlestick, a plate hanging on the wall, as if they say that this is a country house, where the family of a little young lady came to relax for the summer. Dark furniture and orange tones of the room's decor are contrastingly combined.

The whole room is permeated with rays of the gentle sun that pour from the window, without curtains. They scatter highlights throughout the room and paint it with different shades of the palette. Lilac highlights appear on the girl's pink blouse. And on the white wall and tablecloth, bluish spots are visible. Still, in this way, the painter tried to reflect the atmosphere of a serene morning in the picture.

Outside the window you can see greenish-yellow foliage, which indicates that it is summer sunset outside. The fun summer holidays will soon end, and the young lady will leave to study.

Children are very fond of this time of year, so impatience is written on the girl’s face. She will now eat the peaches and again run away to nature, to the free countryside. This beautiful, young, pure creature is dreaming about something, probably about how she will spend the day.

The whole picture creates an impression of joy. Not a single generation of people admired this illustration. She helped many admirers of painting to get rid of a bad mood. This work teaches us to recognize the beauty of fine art.

Grade 3 6th grade.

Composition Girl with peaches Grade 3 based on the painting by Serov

Many of us are well aware of Serov's painting "Girl with Peaches". Hearing the name of this picture, the image of a girl who is sitting at a table covered with a snow-white tablecloth immediately appears in my head. The room is filled with air and light, the girl is a little disheveled, and she has a juicy peach in her hands.

The girl who was captured by the artist is called Verusha. She is the daughter of his business acquaintance. Once they were visiting him and the girl flew into the room, holding peaches in her hand. Serov was inspired by her playfulness and lightness, he invited Verochka to pose a little. Thus, the idea of ​​​​the well-known painting was born.

In the foreground of the picture is a girl. Her expression is calm and composed, and her gaze is directed straight ahead. There is some kind of cunning in her eyes, a feeling that she has conceived a little prank. Posing for the artist, Verochka tries to appear mature and serious with her whole appearance, but it is immediately clear that she really wants to burst into the street with a laugh. The golden, tanned skin of Vera's face looks even darker against the backdrop of a sun-filled living room. It is clear that she spent this summer outside the city, enjoying the summer, warm days. In her hands is a fragrant peach, but her thoughts are somewhere far away.

There are a few more peaches on the table and carelessly tossed leaves. One can imagine that young Vera had just picked them from a tree and decided to treat everyone. The crimson blush on her cheeks is combined in color with a ruddy barrel of peaches, as if emphasizing the freshness, juiciness of the fruit and the young mischief of the girl herself.

The whole picture is made in light, pastel colors, as if saturated with fresh, rustic air. Soft blue shades smoothly flow into pink and golden tones. Even time-worn rustic furniture, because of the sunlight, seems bright and new. Everything around conveys the summer, playful, bright mood of the artist, who once saw the beautiful girl Vera, who, thanks to him, became known to the whole world.

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 don’t know anything that would affect 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 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 recalcitrant thick hair, she stares at the viewer, all flooded with light bursting 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, gliding 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, "preserving the freshness of painting" for him at the same time meant preserving the freshness of that joyful feeling with which this canvas was painted, conveying all the charm of a fleeting impression, but at the same time "stopping the moment" in such a way as 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 delicate 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 eyelids, near 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.

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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 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

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Hanging pictures

Framing Workshop (Moscow) proposes a new method picture pendants by using suspension system Nielsen. Barbell from aluminum profile Nielsen attached to the wall with plastic washers. Perlon line is fixed inside the profile of the rod with sliding hooks or bushings and can be moved along the rod. Durable nylon fishing 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

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Plastic photo frames

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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).
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Order frames for diplomas in a framing workshop

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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, color, 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.

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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

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