Mikhail Vrubel1856–1910Девушка в венке
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〈Девушка в венке〉는 지금 어디에 있나요? 소장처: 트레티야코프 미술관, 모스크바. 오늘 전시 중인지는 확인되지 않았습니다.
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미술관 설명: 러시아어
В произведении «Девушка в венке» Врубель создал загадочный образ молодой девушки, предстающей перед зрителем в облике то ли богини флоры, то ли нимфы. Можно предположить, что эта композиция появилась у Врубеля в процессе творческих поисков типажа героини русской сказки. По мнению многих исследователей, черты облика модели имеют портретное сходство с его музой и женой Надеждой Ивановной Забелой-Врубель.
Михаил Врубель руководил керамической мастерской в Абрамцево с 1890 года. Изучив технологию гончарного искусства, Врубель много экспериментировал с композицией, формой, фактурой, открыв новые возможности майолики. За несколько лет небольшая мастерская превратилась в гончарный завод, продукция которого получила всемирное признание.
계속 읽기
В собрании музея находятся два экземпляра произведения «Девушка в венке», отличающиеся цветом глазури. Скульптура имеет автограф-монограмму МВ в тесте майолики, что является редким явлением для керамики Врубеля.
트레티야코프 미술관
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- 이미지: 트레티야코프 미술관 — © State Tretyakov Gallery
Mikhail Vrubel의 생애 속 이 작품
생애 전체 보기1889
The move to Moscow
After rushing to Kazan to his gravely ill father, in September Vrubel went to Moscow to see friends — and stayed for fifteen years; most likely he was drawn there by an infatuation with a circus horsewoman. He settled in Konstantin Korovin’s studio on Dolgorukovskaya Street; a plan for the two of them to work together with Serov came to nothing, as relations with Serov did not work out.
1889
Meeting Savva Mamontov
Korovin introduced Vrubel to the industrialist and patron Savva Mamontov, and in December the artist moved into his house on Sadovaya-Spasskaya Street. Mamontov became his steady patron, though Mamontov’s wife openly called Vrubel “a blasphemer and a drunkard”, and the painter soon moved to a rented flat.
1890
Abramtsevo: a passion for ceramics
Having come to Abramtsevo to bid farewell to his friend A. Mamontov, who died on 20 July aged 22, Vrubel stayed on and fell passionately for ceramics — soon he proudly wrote to his sister that he was running a “factory of tiles and terracotta decorations”. For the first time in his life he was no longer a hanger-on in wealthy households and earned well: stove designs, a majolica chapel over A. Mamontov’s grave, a design for an extension to the Mamontovs’ Moscow house.
10 April 1891
Illustrations for Lermontov’s “Demon”
The jubilee two-volume Lermontov, illustrated by 18 artists of whom Vrubel alone was completely unknown to the public, was passed by the censor on 10 April 1891. The press savaged Vrubel’s black-watercolour sheets for their “coarseness, ugliness, caricature and absurdity”, and he became convinced that “true art” is understood by almost no one.
early 1896
Meeting Nadezhda Zabela
In St Petersburg Vrubel stepped in for the ailing Korovin as designer of Humperdinck’s opera “Hansel and Gretel”, which Mamontov was financing, and at a rehearsal he first heard, then saw, the singer of Gretel — Nadezhda Zabela. Rushing up to her in the interval with the cry “What a lovely voice!”, he proposed almost on the day they met, and later told his sister that had she refused, he would have killed himself on the spot.
22 May 1896
The Academy rejects his Nizhny Novgorod panels
Mamontov secured Vrubel a commission for two huge panels for the art section of the All-Russian Exhibition — “Mikula Selyaninovich” and “The Princess of the Dream”, a hundred square metres in three months. But the academician Albert Benois, in charge of the pavilion, demanded sketches, a telegram went to St Petersburg — “Vrubel’s panels are monstrous, they must be removed” — the Academy’s commission ruled them unfit to show, and on 22 May the works were carried out of the pavilion.
