Viktor Vasnetsov1848–1926Орнаментальный мотив
Si può vedere?
Non si sa
Dove si trova «Орнаментальный мотив» oggi? Collezione: Museo russo, San Pietroburgo. Non si sa.
San Pietroburgo, Russia
Il proprietario è noto; non si sa se oggi sia esposta.
- Ultimo cambio di stato
- Fonte
- Il museo
Sull’opera
Con le parole del museo — in russo
от Васнецова, приглашенного Адрианом Праховым работать в Киев, во Владимирский собор, ожидали едва ли не чуда. Да и трудно было бы художнику работать «спустя рукава»: за ходом росписи внимательно наблюдал обер-прокурор Синода Константин Петрович Победоносцев, а эскизы утверждал сам император Александр III.
задача, стоявшая перед создателями Владимирского собора, уже не ограничивалась тем, чтобы сделать его «собором русских святых». От Васнецова, поверив в его гениальную историческую интуицию, ждали изобретения современного стиля православной храмовой живописи, возвращения ей общественного и художественного значения, каковое она имела в эпохи своего расцвета.
Leggi
Интересно, что васнецовский стиль киевского периода демонстрировал высокую вариативность, не нарушавшую, однако, ансамблевого единства, которое обеспечивалось, в том числе, выдающимися по красоте орнаментами, значительной частью сочиненными самим Васнецовым. П. Ю. Климов. Монументальная живопись В. М. Васнецова // Виктор Васнецов. К 175-летию со дня рождения. СПб, 2024. С. 62-64.
Museo russo
Scheda
- Numero di inventario
- Р-12120
Che cosa raffigura
In catalogo
Fonti
- Museo russo
- Immagine: Museo russo — © State Russian Museum
Nella vita di Viktor Vasnetsov
Tutta la vita1878–1890 · Carriera
the Peredvizhniki
From 1878 he belonged to the Society of Travelling Art Exhibitions (the Peredvizhniki): he took part in its activity in 1878–1890 and exhibited with it until 1897; he was admitted for the realism and sharp social subjects of his genre paintings.
1884
His son Mikhail becomes the model for the Christ Child in the altar image
In 1884 his son Mikhail was born; he became the model for the infant in the Virgin’s arms in the altar image of St Vladimir’s Cathedral, and later was an astronomer and then a priest of the Russian emigration in Prague.
1884–1889
Friendship with Mikhail Vrubel in Kiev
While living in Kiev he became friends with Mikhail Vrubel, who was also working on the cathedral; while they worked together Vasnetsov taught the younger artist a great deal.
1885
Rimsky-Korsakov’s “The Snow Maiden”: Berendey’s palace
In 1885 he created sets and costumes for Rimsky-Korsakov’s “The Snow Maiden” at Savva Mamontov’s Private Opera — a three-dimensional design for Berendey’s palace, whose colours came from folk festivities in Vyatka and Moscow; in 1881 he had already prepared sketches and sets for a home production of Ostrovsky’s play.
1885–1895
The controversy over the Kiev frescoes: Stasov, Benois, Filosofov
Contemporaries disagreed: Dmitry Filosofov saw in the frescoes “the first bridge over the 200-year-old gulf” between classes of Russian society, Stasov a sacrilegious play with the religious feelings of the people, and Alexandre Benois a “sumptuous and frivolous féerie”; Vasnetsov himself saw the cathedral as a “Bible for the poor”.
