Мальчик, Kuzma Petrov-Vodkin, 1900s
Kuzma Petrov-Vodkin, PorträtKuzma Petrov-VodkinRussland, 1878–1939

Мальчик

1900s · Painting · 77.5 × 52 cm

Kann ich es sehen?

Unbekannt

Wo ist „Мальчик“ heute? Sammlung: Russisches Museum, Sankt Petersburg. Unbekannt.

Russisches Museum

Sankt Petersburg, Russland

Der Besitzer ist bekannt; ob das Werk derzeit ausgestellt ist, nicht.

Unverändert seit
Quelle
Das Museum

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Inventarnummer
Ж-12201

Was es zeigt

Im Katalog

Quellen

Im Leben von Kuzma Petrov-Vodkin

Das ganze Leben
  1. April – July 1901

    First trip abroad: Munich

    Paid for by earnings from designing and modelling tiles at a pottery works near Moscow and from other commissions, his first trip abroad takes him to Munich, where he spends more than a month at Anton Ažbe’s private art school.

  2. October 1905 – February 1906

    Journey through Italy

    He visits Venice, Milan, Florence, Rome, Naples and Genoa; among his favourite masters he later named Leonardo da Vinci, Giovanni Bellini, Raphael and Giorgione. Meeting the classics shows him that the training he received in St Petersburg and Moscow is not enough.

  3. 1906

    Move to Paris: the Colarossi academy

    Wanting to absorb classical European painting and reach the level of its latest achievements, he decides on a longer stay abroad: he moves to Paris and begins to study at Colarossi’s private academy.

  4. 1906

    Meets Margarita Jovanović

    At her mother’s boarding house near Paris he meets the twenty-year-old Margarita Jovanović, half Serbian and half Belgian, soon to become his wife, Maria Fyodorovna Petrova-Vodkina (“Mara”, as he called her). For the first years they live in a civil marriage.

  5. November 1909

    First solo exhibition in Russia

    The first solo exhibition of his work in Russia is held at the editorial office of the newly launched magazine Apollon.

  6. 2 – 6 March 1910

    Repin’s letter on “The Dream” and the defence by Benois and Bakst

    On 2 March Ilya Repin’s letter appears in Birzhevye Vedomosti; seeing decadence in the picture, he calls its author an ignoramus who imitates Matisse and Gauguin. Alexandre Benois (5 March) and Léon Bakst (6 March) come to his defence, and the quarrel runs on for several months.

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