Перов в гробу, Mikhail Nesterov, 1887
Mikhail Nesterovの肖像Mikhail Nesterov1862–1942

Перов в гробу

1887 · Painting · 25.5 × 38.5 cm

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『Перов в гробу』は今どこに? 所蔵: エカテリンブルク美術館|エカテリンブルク美術館, Yekaterinburg. 不明.

所蔵者は判明していますが、現在展示中かどうかは不明です。

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美術館の言葉で — ロシア語

Вверху посередине подпись и дата: MNестеров 87

エカテリンブルク美術館|エカテリンブルク美術館

作品データ

収蔵番号
Ж-635

カタログ収録

出典

  • ロシア博物館資産国家目録
  • 画像: エカテリンブルク美術館|エカテリンブルク美術館 — © Екатеринбургский музей изобразительных искусств · Госкаталог музейного фонда РФ

その頃、Mikhail Nesterovの人生では

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  1. 1874–1886 · 修学

    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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