Mikhail Nesterov1862–1942Девушка - нижегородка
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Abramcevo
Abramcevo, Russia
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- Ultimo cambio di stato
- Fonte
- Il museo
Sul dipinto
Con le parole del museo — in russo
Композиционный портрет. На лесной поляне стоит молодая девушка, прикусив стебелек цветка, который держит правой рукой. Левая рука опущена. В темно-синем сарафане с двумя широкими желтыми полосами спереди и узкой на подоле, в белой рубашке с широкими рукавами. На голове темный платок с белой каймой. В глубине справа придорожная икона с лампадой в деревянном киоте. Слева - темные заросли. Слева вверху черной краской: М.Nестеровъ/
Abramcevo
Scheda
- Numero di inventario
- Ж 172
In catalogo
Fonti
- Il Catalogo statale del fondo museale della Russia
- Immagine: Abramcevo — © Абрамцево · Госкаталог музейного фонда РФ
Nel frattempo, nella vita di Mikhail Nesterov
Tutta la vita1874–1886 · Formazione
Moscow School of Painting, Sculpture and Architecture
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.
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.
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.
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.
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”.
