Царевна, Mikhail Nesterov, 1887
Mikhail Nesterov, portraitMikhail Nesterov1862–1942

Царевна

1887 · Painting · 44.5 × 35.5 cm

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Où est « Царевна » aujourd’hui ? Collection: Simferopol Art Museum, Simferopol. Inconnu.

Simferopol Art Museum

Simferopol, Crimée

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Изображена женщина в рост в боярской светлой одежде, в кокошнике с горящей звездой на фоне равнины. На переднем плане валуны. У левого плеча - птица.

Simferopol Art Museum

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Numéro d’inventaire
Ж-193

Au catalogue

Sources

Dans la vie de Mikhail Nesterov

La vie entière
  1. 1874–1886 · Formation

    Moscow School of Painting, Sculpture and Architecture

  2. summer 1885

    Marries Maria Martynovskaya against his parents' will

    In the summer of 1885, against his parents' wishes, Nesterov married Maria Ivanovna Martynovskaya; after the wedding he went on earning his living by illustrating Pushkin, Gogol and Dostoevsky.

  3. May 1886

    Daughter Olga is born; his wife dies

    In May 1886 Nesterov's daughter Olga was born and his wife Maria Ivanovna died. He later carried the image of his beloved wife into many of his works.

  4. 1889

    “The Hermit” at the 17th Peredvizhniki show

    Shown at the 17th Peredvizhniki exhibition, “The Hermit” caused a stir and placed the young Nesterov among the most outstanding painters of the day; the word “mood” recurred in almost every review. Pavel Tretyakov bought the painting.

  5. May 1889

    First journey abroad

    With the money from selling “The Hermit” to Tretyakov, Nesterov set off on his first trip abroad: Warsaw, Vienna, Venice, Florence, Rome, Naples with Pompeii and Capri, Paris, Munich, Berlin, Dresden. He brought back dozens of studies on lemon-wood panels, most of them from Capri; his travel diary (20 April – 24 July 1889) is kept in the Presidential Library.

  6. May – July 1889

    Carpaccio in Venice, Bastien-Lepage in Paris

    In Venice Nesterov was struck above all by Vittore Carpaccio's “naive composition” and “childlike faith”, in Rome by Raphael's frescoes and the Sistine Chapel. In Paris he saw the painting of Puvis de Chavannes and Bastien-Lepage, whose “Joan of Arc”, art historians agree, decisively shaped the concept of “The Vision to the Youth Bartholomew”.

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