Biography Zinaida Evgenievna Serebryakova. Artist Zinaida Serebryakova

05.03.2020

Biography Haruki Murakov Haruki Murakami emphasis

Biography Zinaida Evgenyevna Serebryakova

(1884-1967)

Zinaida Serebryakova was born on November 28, 1884 in the generic estate "Neskureny", under Kharkov. Her father was a famous sculptor. The mother came from the Beno'a family, and in his youth was a graph artist. Her brothers were no less talented, the younger was an architect, but a senior master of monumental painting and graphics.

With its artistic development of Zinaida, primarily obliged to his uncle Alexander Benouua - the Mother's Mother's brother and the older brother. Church and youth artist were held in St. Petersburg at the House of Santa, Architect N. L. Benua and in the estate "non-pie". The attention of Zinaida has always attracted the work of young peasant girls in the field. Subsequently, this is not once reflected in her work.

In 1886, after the death of his father, the family moves out of the estate in St. Petersburg. All family members were engaged in creative activities, painted with hobby and Zina.

In 1900, Zinaida graduated from the women's gymnasium and entered the art school, founded by the princess M. K. Tenisheva.

In 1902-1903, during a trip to Italy, she created many sketches and etudes.

In 1905, she marries Boris Anatolyevich Serebryakov - his cousin. After the wedding, the young went to Paris. Here Zinaida visits the Academy de la Grand Schomyer, it works a lot, draws from nature.

A year later, young returned home. In Neskuchny Zinaide, it works intensively - creates etudes, portraits and landscapes. In the very first works of the artist, you can already see her own style, determine the circle of its interests. In 1910, Zinaida Serebryakov is waiting for a real success.

In 1910, at the 7th exhibition of Russian artists in Moscow, the Tretyakov Gallery acquires a self portrait "behind the toilet" and gouache "Green Autumn". Her landscapes are gorgeous - clean, bright colors, perfect technology, unprecedented beauty of nature.

The flourishing in the work of the artist occurs in 1914-1917. Zinaida Serebryakova created a series of paintings dedicated to the Russian village, peasant labor and Russian nature - "peasants", "Sleeping peasant".

The bright talent of silver as an artist-monumentalist revealed in the film "Whitening Canvas" as an artist-monumentalist.

In 1916, A. N. Benua was entrusted with the painting of the Kazan station in Moscow, he attracted to work and Zinaida. The artist took up the theme of the countries of the East: India, Japan, Turkey. She allegorically presented these countries in the form of beautiful women. At the same time, she began working on compositions on the themes of ancient myths. Self-portraits occupy a special role in the work of Zinaida Serebryakov.

In the 20s, Zinaida Serebryakova returned to children to Petrograd, to the former apartment of Benoit. The daughter of Zinaida Tatiana began to engage in ballet. Zinaida, together with his daughter, attend the Mariinsky Theater, there are behind the scenes. In the theater Zinaida constantly drawn. In 1922, she created a portrait of D. Balanchine in the costume of Vakha. Creative communication with ballerinas for three years has reflected in an amazing series of ballet portraits and compositions.

The family is experiencing difficult times. Serebryakova tried to write pictures to order, but she did not succeed. She loved to work with kind.

The years spent in Paris did not bring her joy and creative satisfaction. She grew to his homeland, sought to reflect his love for her in her paintings. Her first exhibition passed only in 1927. Earned money she sent mothers and children.

In 1961, two Soviet artists are visited in Paris - S. Gerasimov and D. Shmarinov. Later in 1965, they arrange an exhibition in Moscow for her.

In 1966, the last, large exhibition of the works of Serebryakova in Leningrad and Kiev took place.

In 1967, in Paris at the age of 82, Zinaida Evgenievna Serebryakov died.

Creativity Z.E. Serbryakova in the context of the work

Zinaida Evgenievna Serebryakova ... This name is connected to me with a picture located in the Tretyakov Gallery: A young woman in front of the mirror ... There is a feeling of amazing purity and clarity of the image, a rare combination of spiritual and physical beauty ...

Ivan Antonovich Efremov in the novel "The Razor Blade" recalls about Zinaide Serebryakova as a wonderful Russian artist, "one of the most prominent Russian masters, undeservedly forgotten." All his life, the artist devoted to collecting beauty, capturing her on her canvases.

Zinaida Evgenievna Serebryakova was born in 1884, in the family of Lancer-Benoit, the famous artistic dynasty of Russia. Her father, Evgeny Alexandrovich Lancere was a famous sculptor, he died when Zina was only 2 years old and she knew about him only in the stories of relatives. Her mother - Ekaterina Nikolaevna Lancer was a birth from the famous family of artists and architects of Beno'a.

Children's and youthful years of Zinaida Evgenyevna took place in St. Petersburg. The architecture and museums of St. Petersburg were their influence on the formation of the young artist, the luxurious Park of the Tsarist village, where the family went out in the summer. The spirit of high art reigned in the house. In the families of Benua and Lancer, the main sense of life was the service of art. Every day Zina could observe how adults worked selflessly, wrote a lot of watercolor, whose technique owned everything in the family. Talent Girls developed under the closer attention of the senior family members: Mothers and brothers who were preparing to become professional artists. The whole home family furnishings brought up respect for classic art: Santa's stories - Nikolai Leontievich about the Academy of Arts, traveling with children to Italy, where they acquainted with the masterpieces of the Renaissance, visiting museums. In 1905, a exhibition of Russian portraits was organized in St. Petersburg S. Dyagilev. Before the Russian public, the beauty of the art of Rockotov, Levitsky, Borovikovsky, Venetianov: Venetian portraits of the peasants, the poetry of peasant labor was inspired by Zinaida Serebryakov to create their paintings, pushed to serious work on portraits.

In 1905, she marries Boris Anatolyevich Serebryakov, a neighbor for the estate. They were familiar with childhood and wanted to connect their lives, despite the fact that they were cousins \u200b\u200band sisters. I had to overcome many obstacles, as they were a different religion and pretty close relatives. After trips to Belgorod and Kharkov to the spiritual authorities, the permission was finally obtained and young people were able to marry. Boris Anatolyevich was a student of the Institute of Communications and referred to the part of the Russian intelligentsia, which believed that a person had a "mind with a heart in Lada" and that spouses for all interests should be like-minded. The young left first in Paris, and then, returning, settled in the childbirth "Nescutual" on the border of the Kursk region and Ukraine.

Zinaida Evgenievna loved the Russian village with all his soul. And when you love something, you see in it only good and bright. The artist wrote that "fell in love with the vastly shopping fields, the picturesque appearance of peasants, such a different from urban persons." Etudes from rural life appear in her albums.

Her landscapes and sketches are close to impressionism with their purity and sound of paints, in such a way of displaying reality, when the world is seen by the pure inspiration and joy of life.

Many of their best works of Serebryakov will write inspired by the images of Russian peasants. The peasant girls, the harmony of their clean shower and strong bodies, hardened by physical labor and the lives close to nature, will be for the artist the standard of the unconditional beauty that Ivan Antonovich Efremov speaks in the "Razor Blade" by the mouth of Ivan Girin: "... Beauty is the highest degree of feasibility, the degree of harmonic matching the combination of contradictory elements in any device, in any way, every body. Therefore, every beautiful line, a form, a combination is a suitable solution developed by nature for millions of years of natural selection or found. A man in his search for a beautiful, that is, the most correct for this thing. Beauty and there is that leveling chaos overall pattern, the great middle in expedient versatility, comprehensively attractive, as a statue. It is not difficult, knowing materialistic dialectics, to see that beauty is the right line in The unity and struggle of opposites, the very middle between the two sides of every phenomenon, every thing that the ancient Greeks seen and called Ariston - the best, considering the synonym for this word to measure, more precisely - a sense of measure. I imagine this measure with something extremely thin - razor blade, because finding it, carry out, not It is also rarely difficult how to get along the razor blade, almost invisible due to the extraordinary acuteness ... The main thing that I wanted to say is that there is an objective reality, perceived by us as unconditional beauty. "

Zinaida Evgenievna Serebryakova (Maiden named Lancer) was born on November 28, 1884 in the genitalian estate unkurries, in Kursk province, in one of the most famous arts of the Family Benua-Lancer. Her grandfather Nikolai Benua was a famous architect, Evgeny Lancere Father - a famous sculptor. The mother took place from the Benua family, she and her sister - Alexander Benua, in his youth were graphic artists. One of her brothers, Nikolai, was an architect, another, Eugene, played an important role in the history of the Russian and Soviet art of monumental painting and graphics. With its artistic development of Zinaida, first of all, is obliged to his uncle Alexander Benua - his mother and his elder brother.

Childhood and adolescence of the artist was held in St. Petersburg in the House of Grandfather, Architect N. L. Benua and in the estate "non-pie". The attention of Zinaida has always attracted the work of young peasant girls in the field. Subsequently, this is not once reflected in her work. Draw a lot, forgetting about everything, she began at a young age. Favorite children's passion was called. Yes, and not Zina could not become an artist, - her way seemed to be predetermined from birth: the girl grew in the family where everyone was creative personalities. Zina reread rare arts from a huge home library several times. All relatives were engaged in creative work: painted, went to etudes. Razzrosv, Zina worked in the studio under the guidance of the famous painter Ilya Repin. The student talentedly copied the Hermitage fabrics, and really appreciated this occupation, because the work of the old masters of the brush was taught a lot. In 1886, after the death of his father, the family moves out of the estate in St. Petersburg. All family members were engaged in creative activities, painted with hobby and Zina. In 1900, Zinaida graduated from the women's gymnasium and entered the art school, founded by the princess M. K. Tenisheva. In 1902-1903, during a trip to Italy, she created many sketches and etudes.

Self-portrait 1900 g.

In 1905, she marries Boris Anatolyevich Serebryakov - his cousin. Later, the 21-year-old Zinaida, already married, studied painting in Paris, where in October 1905 she left with his mother. Here Zinaida visits the Academy de la Grand Schomyer, it works a lot, draws from nature. Soon they were joined by the husband of the artist Boris Serebryakov, the engineer. They had to each other close relatives - cousins \u200b\u200band sisters, so for their happiness had to compete, as the relatives hurt the marriage between blood relatives.

Self-portrait 1907

After France, a young artist and autumn usually spent in Neskuchny - wrote portraits of the peasants, and went to St. Petersburg for the winter. 1909 was happy for the creative development of Zinaida, when she stayed longer in the estate. In Neskuchny Zinaide, it works intensively - creates etudes, portraits and landscapes. In the very first works of the artist, you can already see her own style, determine the circle of its interests. In 1910, Zinaida Serebryakov is waiting for a real success.

Portrait of Olga Konstantinovna Lancer 1910

Self-portrait 1910

Self-portrait in scarf 1911

Batcher 1911

Behind the toilet. Self-portrait 1909

Family portrait of 1914

Self-portrait 1914

The bright talent of silver as an artist-monumentalist revealed in the film "Whitening Canvas" as an artist-monumentalist.

Peasants 1914

Working peasant 1915

Peasant woman with canvas rolls on her shoulder and in hand 1916-1917 g.

Peasant woman, separating canvas 1916-1917.

Narcissus and Nymph Echo. Etude 1916-1917

Nude. Sketch: 1916-1917

Bathing 1917

Diana and Akteon 1916-1917

India 1916

Japan (Odalisk) 1916, Siam 1916

TUNECTION (Two Odalis) 1916, Turkey, 1915-1916.

During the Civil War, Zinaida's husband was leisure to Siberia, and she with children in Neskuchny. It seemed to move to Petrograd, and Zinaida went to Kharkov, where he found a job in the Archaeological Museum. Her generic estate in the "misfortune" burned out, all her works were killed. Later Boris died. Having buried her husband, Zinaida was left alone responsible for a large family consisting of a weak health of mother and four children. In the fall of 1920, she received an invitation to translate to the Petrogradsky Department of Museums and accepted it, but it was not easier to live. In the diary, the widow with a supervision wrote about domestic adversities, which fell into its share depressed by mental state. All these years, the artist lived, in constant thoughts of her husband. She wrote four portraits of her husband who are stored in the Tretyakov Gallery and the Novosibirsk Art Gallery. The daughter of Zinaida Tatiana began to engage in ballet. Zinaida, together with his daughter, attend the Mariinsky Theater, there are behind the scenes. In the theater Zinaida constantly drawn. In 1922, she created a portrait of D. Balanchina in the costume of Vakha. The Semia is experiencing difficult times. Serebryakova tried to write pictures to order, but she did not succeed. She loved to work with kind. Creative communication with ballerinas for three years has reflected in an amazing series of ballet portraits and compositions.

Nude 1920

Self-portrait in Krasnoy 1921

Portrait of Tats in Harlequin's costume 1921

Blue ballerinas 1922

Portrait of G.M. Balanchivadze (J. Balanchina) in the costume of Vakha 1922

Galina Teslenko, sealing artist, became a friend of artist for many years. "You are so young, loved, appreciate this time," Serebryakov told her in 1922. "Oh, so bitter, so sad to realize that life is already behind ...".
Unusually emotional by nature, she acutely reacted to everything that happened around, to her heart took a mountain and joy. Contemporaries celebrated her strikingly sincere attitude towards people, events, she vividly responded to requests, appreciated the kindness in people, admired all the beautiful, hated evil.

Anna Akhmatova 1922

Nude 1923

Portrait of the ballerina E.N.Geidenrey in Red 1923

In the first years after the revolution, lively exhibition activities began in the country. In 1924, Serebryakova became the exhibitor of a large exhibition of Russian visual art in America. All paintings represented by it were sold. On the revenue money, she is decided to go to Paris to arrange an exhibition and get orders. As it turned out, he left the country forever. Two artists remained in Russia, and the older Alexander and Catherine arrived at the mother in 1925 and 1928. With the daughter of Tatiana, the artist met in 36 years, when she came to visit Mother in Paris. But he was not able to get rid of the need to get rid of the need, and here life remained not easy. The years spent in Paris did not bring her joy and creative satisfaction. How much would the Russian artist worked, earnings were too small to sobally for prices. She grew to his homeland, sought to reflect his love for her in her paintings. Her first exhibition passed only in 1927. Earned money she sent mothers and children.

Recreation black woman. Marrakesh 1928

"Life now seems to me with meaningless bustle and lies - they are very clogged now in all brains now, and now there is nothing sacred in the world, everything is ruined, debunk, Poprano in dirt," the artist wrote. In the mid-30s Zinaida Evgenievna Serebryakova was going to return to his homeland. But it turned out, not destiny: first the paperwork was delayed, then the relocation made it impossible for the Second World War and the Occupation of Paris.

Allegory of the summer 1936-1937

In 1961, two Soviet artists are visited in Paris - S. Gerasimov and D. Shmarinov. Later in 1965, they arrange an exhibition in Moscow for her.

In 1966, the last, large exhibition of the works of Serebryakova in Leningrad and Kiev took place.

Children and Russian artists called her to return, but the old artist was already seriously ill, and after two transferred operations for the move was not solved. And the Son, and the daughter, who also became artists, she did not want to leave abroad. "In general, I often repent that I drove so hopelessly far from my," she wrote back in 1926. And with bitterness, I led the result to the living: - "I didn't come out of my life here, and I often think that I did an irreparable thing, pissed off from the soil.". " Z.E.
Serebryakova died in 82 years in Paris, in September 1967. A few years before death, friends and children of the artist staged an exhibition in Russia, and for many - not only compatriots - she became the discovery of genuine Russian talent.

Zinaida Evgenyevna Serebryakova (Maiden name Lancer; December 12, 1884, s. Neskurevaya, Kharkiv lips., Now Kharkiv region, Ukraine - September 19, 1967, Paris, France) - Russian artist, participant of the Unification of the World of Art, one of the first Russians Women entered into the history of painting.

Biography Zinaida Serebryakova

Zinaida Serebryakova was born on November 28, 1884 in the generic estate "Neskureny", under Kharkov. Her father was a famous sculptor. The mother originated from the Benua family and in his youth was a graph artist. Her brothers were no less talented, the younger was an architect, and the eldest was a master of monumental painting and graphics.

With its artistic development of Zinaida, first of all, is obliged to his uncle Alexander Benua - his mother and his elder brother.

In 1886, after the death of his father, the family moves out of the estate in St. Petersburg. All family members were engaged in creative activities, painted with hobby and Zina.

In 1900, Zinaida graduated from the women's gymnasium and entered the art school, founded by the princess M. K. Tenisheva.

In 1902-1903, during a trip to Italy, she created many sketches and etudes.

In 1905, she marries Boris Anatolyevich Serebryakov. After the wedding, the young went to Paris. Here Zinaida visits the Academy de la Grand Schomyer, it works a lot, draws from nature.

During the Civil War, Zinaida's husband was leisure to Siberia, and she with children in Neskuchny. To move to Petrograd, it seemed impossible and Zinaida went to Kharkov, where he found a job in the Archaeological Museum. Her generic estate in the "misfortune" burned out, all her works were killed. Later Boris died. The circumstances make the artist leave Russia. She goes to France. All these years, the artist lived, in constant thoughts of her husband. She wrote four portraits of her husband who are stored in the Tretyakov Gallery and the Novosibirsk Art Gallery.

The family is experiencing difficult times. Serebryakova tried to write pictures to order, but she did not succeed. She loved to work with kind.

In 1961, two Soviet artists are visited in Paris - S. Gerasimov and D. Shmarinov. Later in 1965, they arrange an exhibition in Moscow for her.

In 1966, the last, large exhibition of the works of Serebryakova in Leningrad and Kiev took place.

In 1967, in Paris at the age of 82, Zinaida Evgenievna Serebryakov died.

Creativity Serebryakova

Even in his youth, the artist always expressed love for Russia in his etudes. Her picture "Garden in bloom" and some others clearly talk about the charm of Russian endless expanses, meadow flowers, fields.

Pictures that appeared in the exhibitions of exhibitions 1909 - 1910, express a peculiar and unique style.

The greatest delight of the audience caused a self portrait "For the toilet". A woman living in a small village, in one of the short winter evenings, looking into the mirror, smiling in his reflection, as if playing with the ridge. In this work of a young artist, like she herself, everything breathes freshness. There is no modernism; The corner of the room, as if illuminated by youth, appears in front of the viewer in all its charms and joy.

The largest peak of artist's creativity falls on pre-revolutionary years. These are pictures about peasants and beautiful Russian landscapes, as well as household genres, for example, the picture "for breakfast", "ballerinas in the restroom".

Behind the toilet At breakfast White canvas

One of the significant works in these years is the picture "The Whitening Canvas", written in 1916, where Serevorakov acts as a monument artist.

Figures of rustic women in the meadow near the river look great, due to the image of the low horizon. Early in the morning, they just spread woven canvases and leave them for a day under the bright rays of the sun. The composition is built in red, green and brown tones, which gives a small canvas with the properties of the monumental-decorative canvase. This is a kind of anthem with the hard work of the peasants. The figures are made in different colors and rhythmic keys, which creates a single plastic melody, closed inside the composition. All this is a single majestic chord, which glorifies the beauty and strength of the Russian woman. The peasants are depicted on the shore of a small river, from which the pretty fog will sweep up. Reddish rays The sun gives a special charm to female faces. "The canvas whitening" resembles ancient frescoes.

The artist interprets this work as a ritual action, showing the beauty of people and peace, with the help of a picturesque and linear rhythm of the picture. Unfortunately, this is the last great job of Zinaida Serebryakova.

In the same year, Benua ordered to decorate the painted Kazan station and he invites his niece to work. The artist decides to create an oriental theme in its own way. Represent India, Japan, Turkey and Siam as beautiful women of the East.

In the twist of creativity, the artist comprehends a huge grief. Illness with typhoid, in a short time, the husband burns from this terrible disease, and the mother and four children remain on the hands of Serebryakov. Family experiences acute need of literally in everything. Reserves that were completely looted in the estate. There are no paints, and the artist writes coal and pencil his "card house", which depicts his children.

Serebryakova meets the categorical refusal to master the style of futurism and finds work in the Archaeological Museum of Kharkov, making a pencil sketches of exhibits.

Art lovers are almost in vain, for food or old things acquire her paintings.

Serebryakov travels through African countries. Exotic landscapes surprise her, she writes atlas mountains, portraits of African women, creates a cycle of etudes about Brittany fishermen.

In 1966, in Moscow and some major cities, Serebryakova's works were opened in Moscow and some major cities, many of the paintings were acquired by Russian museums.

In his youth, Zinaida fell in love and married her own cousin. The family did not approve of their marriage, and the young were forced to leave their native lands.

In the canvases of the Russian artist Zinaida Serebryakova there are many paintings describing the life and work of the peasant population. She painted people working on Earth from nature right on the field where the peasants worked. To catch up to grab all the details, the artist got up before the workers, came to the field with paints and brushes before the start of all works.

Because of the constant poverty of Serebryakov, it was forced to make paint on their own, since it was just not for that. Today, Serebryakov's works are offered a fabulous amounts, although in life to sell their paintings by Zinaida did not always manage to be, and the artist's almost all allied on Earth had to live in poverty.

Having left for France, and leaving the daughter and Son in Russia, Serebryakov could not imagine that the next time he would see his own child after 36 years.

The original is taken by W. aldusku. In the blue express creativity of Zinaida Serebryakova

Yesterday, I managed to jump into the last car of the outgoing train of the retrospective exhibition Zinaida Serebryakova, who ran through the Engineering Corps of the Tretyakov Gallery. The stages of the creative life of the Great Artist from youthful drawings made in the estate in Neskuchny, to the majestic panels for the Belgian Villa Manouard du relay in Manoire, flashed outside the window. Taking into account the huge path of the ticket for Express cost cheaply - 600 rubles. The attentive conductor did not allow holidaymakers to capture a wonderful moment in the photo.

It is a pity that the photography was forbidden. An excellent album-catalog was released to the exhibition (obligatory for the acquisition!) And 4 more were offered, but ... Typographic paints cannot convey the entire color of Serebryakov. For example, canonical work - "For the toilet. Self-portrait »1909. , To consider which I started in a deep childhood on the postage stamp, turned out to be very bright, just the taper of the whiteness of January Yaney (and not the dirty gray-white color of the molding snow with Landscapes of Levitan). I was surprised to find that almost all reproductions truncate the picture - clipping the mirror frame (bringing the effect of the picture in the picture), and the only element that is reflected and gives an understanding that we see only the reflection of the artist, the candlestick (leave only its reflection).

The discovery for me was how surprising and diverse the world of the artist. Landscapes from the bright Malorosiysk depths to dark gray Paris, portraits from the Kharkov peasant to Moroccan Oodalisky. And of course, portraits of people surrounding Zinaida Evgenievna for us - great cultural figures. It is interesting to observe, transformation of creativity and the personality of the artist. Initially, leading a closed lifestyle in the manor of non-pie - self-portraits, from the moment of marriage, portraits of her husband, children are added. And then ... Revolution, death of a husband, parting with children, Alien - painfully expanded the circle of creative interests of the artist.

Our heroine from the supernutral family of Benouua Lancer. The only stupid of this family is her husband - Boris Anatolyevich Serebryakov, and her cousin who chose the fate of the railwayman. He died early, in 1919 in Kharkov from Tifa. And she left the children and went to Paris. A lot is written about the suffering of the artist on a foreign land and painful break with children. In my opinion, it was a conscious and a rather selfish choice. The nature of Zinaida Evgenyevna was not sugar, which is worth how she poured up with dirt of their financial patron, the patron of Baron J.-A. Browner.

Most of all I liked the work "At breakfast". 1914 (GTG, acquired in 1955 from the meeting L.A. Ruslanovova) . There is everything here: an insanely beautiful blue color, and a combination of yellow van gogh (the whole picture is a variety of blue with the spraying of egg yellow jug, soup, buns, napkin holders, chimnery). Bright-floiled, piercing eyes of children as if with icons. You can see a lot of domestic: the character of the son of Eugene (the future architect and the restorer) depicted melancholic in the background is emphasized by the Father.

The big discovery for me it became that portraits of loved ones and self-portraits are quite distant from reality. In the direction of idealization. As for the image itself, it is worth only to take photos And everything becomes obvious. As my favorite said, Zinaida Evgenievna did not hurt himself ... It concerns and friends. For example, the author of the first study on the work of Serebryakova, her friend - Sergey Rostislavovich Ernst, turned from a plump redspire of the Vologda Youth in lucky aristocrat with sharp angular features . The appearance of Ernst appears in many of the silver century figures, I took the founder, a member Mug of lovers of elegant publications Veiner P.P.

Surprised was to see a whole cycle dedicated to the ballet. Some things are very consonant of Degas (forgot to note in the early small landscapes I was visible bright traces of impressionists). I remember: gentle work: "Girls-sylphides. Ballet "Shopenian" » and bright blue portrait of the greatest artist of the theater and bibliophile Serzh Lifer .

Etudes for the design of the restaurant of the Kazan station in Moscow tolerate us in the fabulous world of the East. Remind the works of Kuznetsova Pavel Bartholomeyevich (1878-1968), which is part of the "World of Art".

The "peasant cycle" impressed. Its bright, piercing colors make you remember both Renaissance and an icon. I was familiar with this side of Serebryak's creativity only by a series of postcards "Types of peasants of the Kursk province", published by the Saint Eugene community. The work of Peter Breygel Senior remembered.

For many cloth posed carpenter Ignat Dmitrievich Golubev operating in the estate in Neskuchny. So and entered the story of simple peasants, moving the number of portraits of the famous silver contemporaries. And female images were written with Pelagia Buckle.

Separately, I wanted to highlight the preference of silver to blue color. The infinity of the shades of blue can be seen in the works only looking into the lively.

Half of the works of Zinaida Evgenyevna for one fourth are unacceptable, on the canvas left with paints or tempera place. In many portraits, the background is prescribed only in the area of \u200b\u200bthe head to give the volume and better color reproduction. In some works, this gives the effect of incompleteness, inexpensive.

Complete your note by continuing the analogy with the train. In Paris, where our heroine has lived, our heroine has a Lyon station, which is the famous Blue Express (Le Train Bleu). The high-speed railway composition of deep blue, consisting of 12 luxury cars and carrying aristocrats from the azure coast to La Mansha in South African Railway. At the beginning of the 20th century, he became a symbol of luxury and gave the name of the famous restaurant at this train station. The interior of the beloved restaurant K. Chanel and L. Beson is full of gold, beautiful picturesque landscapes and blue. But despite the greatness and aristocracy, he remains a restaurant in the station, and here the ladies in expensive evening dresses are adjacent to the black inhabitants of the former French colonies in the sports costumes. So and the work of Serebryakova, simple peasants suddenly turn out to be against the background of deep blue Renaissance, the Great is combined with small, Russian soul with African heat ...

By placing the electronic reprints of Serebryak's cloths here - I was guided by a chronology and something else, but exclusively with my preferences. At the end of the note: preface to the exhibition And in the form of a separate note chronicle of life and creativity Zinaida Serebryakova (not fit :)).

I also draw your attention to the wonderful reviews of this exhibition of my friends by LJ: galik-123. and pRO100-MICA.

House of the Lancer family in Neskuchny. 1904. Paper, watercolor, graphite pencil. 24.1х33.5 (timing)

In the workshop O.E. Braza. 1904. Paper, Gouache, Graphite and Coal Pencils. 43.5 x 31.5. GTG

... You ask about my classes in the workshop O.E. Braza? Actually, he did not have the teaching system - everything was painted or writing as someone wanted, the model was always feminine - there was more student than students. Osip Emmanuilovich appeared rather rarely in the workshop engaged in his own orders (he wrote, for example, in the next workshop. Portrait of Maria Nikolaevna Kuznetsova, artists, singer of the Mariinsky Theater). Yes, I remembered the valuable Council of Braz to all his students - to see "general" during drawing, and not draw in the "parts".

Z.E. Serebryakova - A.N. Savina. Paris, 08.01.1965 // Serebryakova. Letters. P. 207.

Plowing. Optical. 1908 Paper, tempera. 42 x 56. Graphite pencil. Private Assembly, London

House in the village of Neskuchny. 1919. Paper, gouache, tempera. 49.8x64 GTG

Cypress in the Crimea. 1911. Paper, tempera. 43.3 x 43.5 gtg.

Self-portrait. 1906. Canvas, oil. 69.5 x 6. Private Assembly, Moscow

Behind the toilet. Self-portrait. 1909. Canvas on cardboard, oil. 75 x 65. GTG

Etude girls. Self-portrait. 1911. Canvas, oil. 72x58.5. Timing. Spb.

At breakfast. 1914. Canvas, oil. 88,5х107 (GTG, purchased in 1955. Earlier was in the meeting L.A. Ruslanovova)

Portrait of E.E. Lancer in Papakh. 1915. Paper, tempera. 33 x 22. Private Assembly, Moscow

Shipped Evgeny Evgenievich Lancer (1875-1946), Senior Brother Z.E. Serebryakova, schedule and painter, master of monumental painting.

He was a member of the World of Art and an active participant in the joint exhibitions. Worked on illustrations to L.N. L.N. Tolstoy "Haji Murat" and "Cossacks". Repeatedly traveled in Europe, visited Siberia, Manchuria and Japan. In 1914 was in the Caucasian front as a military correspondent. He worked in Dagestan, Chechnya (1912-1919).

In 1922-1929 traveled in Georgia, Armenia, Azerbaijan and Nagorno Dagestan, worked in Zangezure, Svanetia, Dagestan. Visited Turkey. In 1927, the task of the People's Commissariat of Georgia was sent to Paris. He lived in Tbilisi (1920-1934), he taught at the Academy of Arts in Georgia. From 1934 lived in Moscow. Performed mural Hall of the restaurant Kazan Station in Moscow . Head of the Monumental Workshop of the All-Russian Academy of Arts, Professor. Honored Art Worker of the Georgian SSR, People's Artist of the RSFSR.

Bather. 1911. [Portrait of the sister - Catherine Zelenkov]. Host, oil. 103,5x89.5. Timing. Spb.

Children in the meadow (Zhenya and Shura). 1909. Paper, tempera. 39x48 Private Assembly, Moscow

Shura sleeps under the patchwork blanket. 1908. Paper, temperatures 23 x 33.5 Private Assembly, Moscow

Family portrait. (In the house of Beno'a). 1914 Paper, tempera, Gouache, Belil. 34.3 x 46.3. KGALLY, Saint Petersburg

Peasant woman with a junny. (Pelagia Buckle). 1914. Canvas, oil. 87x73. Nizhny Novgorod ghm.

Portrait I.D. Golubeva. 1914. GRM

Silver carpenter worked Ignat Dmitrievich Golubev. It is depicted in the picture "Peasants", 1914. When mom first saw a postcard from this work, exclaimed: "Yes, my father!". And he told us that he was very similar. Serebryakov grandfather worked not only a carpenter - he was a "master of all hands", obedient, executive. He was very valued, treated him well, beat the joke, was smart, talented ...

Fedorenko E.G. Family Z.E. Serebryakova // Serebryakova. Letters. P. 232.

Portrait of S.R. Ernst. 1921. Canvas, oil. 81x72. Nizhny Novgorod ghm.

Portrait of S.R. Ernst. 1922 Paper, temperatures 64 x 47.5. Pencil. GRM

Portrait of a brown artist in a masquerade suit. 1922. Paper, pastel. 64x45. GTG

Depicted Dmitry Dmitrievich Bun (1893-1993), painter, schedule, scene. The descendant of the Huguenotov settled in Russia to the reign of Catherine II. Born in France, where mother was treated from tuberculosis. After the early death of the mother (1895) was transported to St. Petersburg and brought up in the family of aunt - E.D. Kuzmina-karavaeva (ur. Bucheu). In 1912 he graduated from the 2nd St. Petersburg Gymnasium. He went to Paris, visited the Academy of Ranon and met M. Deni and A. Matisse. In 1913 he entered the Historical and Philology Faculty of St. Petersburg University. In the years of study met the future art historian S.R. Ernsta, who was his closest friend before the end of the days. I met the artists of the Society "World of Art". Was friendly with A.A. Akhmatova and N.S. Gumilev. Simultaneously with study at the university, he was engaged in the drawing school of OPH, where the attention of the School Director N.K. Roerich.

In 1915-1917 he worked as an assistant to the keeper of the Museum of OPH.

In 1918-1925 he worked as the junior keeper of GE in the department of porcelain and jewelry.

During the revolution, he patronized A.N. Benua. Together with S.R. Ernsta held a room in the apartment of Serebryakov in the family house Benoit. Performed exlebris, designed books for the Akvilon publishing house: "Three stories" A. De Rainier (1922), "Venetian glass" A.N. Cuba (1923) and "On Bronze" P.P. Veiner (1923). In 1925 settled in Paris. All subsequent years wrote pastel and gouache small picture format: flowers, still lifes, landscapes of France, city of Italy, especially Venice, scenes from the life of theater and circus. In the late 1920s, the drawings of the fabrics and model of clothing for French fashionable houses will be. Ricci Lanwan and Lelong. Created sketches of costumes for Anna Pavlova and Ida Rubinstein. From the mid-1930s, the main attention paid to work in the theater. In 1977, illustrated the French edition of the "poems without a hero" A.A. Ahmatova..

I could not resist: photo of the joint grave Dmitry Bushen and Sergey Ernst. Inscription at the bottom: "What a joy you came." Montparnasse cemetery..

Evgeny Isidovich Zolotarevsky (1908-1967), decorator artist, son of the sculptor Isidor Samoilovich Zolotarevsky (1885-1961) and Fanny Solomonna (Ur. Bronstein, cousin L.D. Trotsky).

I.S. Zolotarevsky, famous posthumous mask S.A. Yesenin, invented the technique of facsimile reproduction of the sculpture and acted with the idea of \u200b\u200bcreating museum "stations" throughout the country, which, like electric light, will dispel the darkness of ignorance in broad masters. " He embodied this idea by creating in his apartment, the workshop of the production of copies and spreading them through various areas of the country.

I.S. Zolotarevsky was close to artists of the "World Peace", his portrait in 1922 wrote B.M. Bustodiev (timing). His apartment from 14 rooms on a large marine with a large number of antique collections resembled Palazzo, according to A.A. Osmertkin, who visited him in 1927. In this setting and was written Z.E. Serebryaka portrait of his son Eugene, the image of which resembles the images of the young italian revival.

Portrait of MA TrinoNitskaya. 1924. Canvas, oil. 75 x 65. timing

Marph Andreevna Troynitskaya (Ur. Panchenko, 1889-1942?), Married to the artist S.P. Yaremich, on the second marriage - wife S.N. Troynitsky, art historian, director GE (1918-1927).

Girls at the piano. 1922. Canvas, oil. 96x68. Private assembly. Moscow

Blue ballerina. 1922. Paper, pastel. 63x48. GRM

Girls-Sylphides. Ballet "Shopenian". 1924 canvas, oil. 82.5 x 103 gtg

Paris. View of the embankment. Mid 1920s paper, gouache. 45 x 58 Private Assembly, Paris

Alexander Aleksandrovich Popov (1880-1964), Personnel officer of the Russian Imperial Army, emigrated to France in 1919. In 1920, he opened the antique Gallery of Popov in Paris to ° (Galerie Popoff & Si). The largest collector of Russian art in France, the owner of one of the most significant meetings of the Russian porcelain, located outside of Russia, the expert of Russian watercolor of Pushkin time. Starting from the 1930s, his clients were members of the British royal family, as well as J. Anueli, M.L. Rostropovich and L. Bernstein. Popov worked closely with representatives of Russian emigration, among which were Z.E. Serebryakova, K.A. Korovin, Yu.P. Annenkov, F.A. Malyavin, K.A. Somov and others. The works of these artists were exhibited in his gallery.

In 1935, the gallery was awarded the first honorary Grand Prix of Paris for the highest quality of the exhibited works.

After the death of Popov, his gallery was acquired by the family of hereditary French antiques Barush, who retained the previous name of the gallery who had gained fame and continued to collect, learn and show Russian art. A significant part of the collection - watercolor and drawings of the artists of the Pushkin era - was presented in 1999 to Gmin at the exhibition "Sovremniki Pushkin. 100 watercolor portraits from the Paris Assembly in 2008 came out the catalog "Masterpieces of the Russian Porcelain XVIIIVeque from the Collection of Gallery" Popov and K ° ". In 2009, the Christie Auction House "S held a bidding of the Russian Collection: Popov Gallery and K °.

Portrait of SM Lifery. 1961 Paper, oil. 71.8 x 58. Collected A.N. Volodchinkoy, Moscow

Recently, I had several "sessions": I made 2 sketch with Sergey Mikhailovich Lifery, kindly agreed to pose me. Drew it with oil on paper. He is an entertaining person who saw a lot, who has passed a lot of light ...<...> Most of all, we talked about Pushkin with him - he had genuine letters of Pushkin to Natalia N. Goncharova in the collected! He made a book himself with the full text of these letters, satisfied here the exhibition in 1937 Pushkinskaya, and then Lermontovskaya ...

Z.E. Serebryakova - TB Serebryakova. Paris, 12/23/1961 // Serebryakov. Letters. P. 175.

Menton. Beach. 1931. Paper, temperatures, varnish. 43x59. GTG

View port. Colliur. 1930 Paper, Gouache. 43x60. Private Assembly, Paris

Lying Odalisk in a blue bedspread. 1932 Paper, pastel. 48x63. Fondation Serebriakoff, Paris

Jurisprudence. 1936-1937 Canvas, oil. 165x100. Piece of panels for the Belgian Villa Manouard du Relay in Maurile. Customer: Baron J.-A. Browner. Gallery "Triumph", Moscow

San Gimignano. 1937 Paper, Gouache. 40 x 60. Private Assembly, Paris

Assisi. 1932 Paper, Gouache. 44 x 60. Private Assembly, Paris

Boboli garden. Florence. 1932 Paper, temperatures 42 x 57. Private Assembly, Paris

About the exhibition (text of curators)

In 2017, it marks 50 years since the death of Zinaida Serebryakova (1884-1967) and there is a century of revolutionary events of 1917 - the time when the fate of silver, like many and many people, tragically changed. This dates are devoted to the exhibition of works by the artist in the Tretyakov Gallery and the accompanying edition.

The first large monographic exhibition of Serebryakova was prepared by the Tretyakov Gallery in 1986. In 2013, the Gallery held an exhibition of the Paris Heritage of Zinaida Evgenievna, as well as the works of her children - Alexander and Catherine, fully composed of the works stored in French meetings. The current retrospective is the most complete demonstration of the works of Serebryakov over the past 30 years, which makes the focus on the brightest, Russian period of its creativity.

This exhibition includes more than 220 paintings and graphics from museum and private collections. The earliest, almost children's works of Serebryakova, performed in the House of Benoit, in foreign travel, in the O.E. Studio Braza and the Paris Academy of De La Grand Schomyer, who help trace the formation and development of the talent of the representative of the artistic family of Benouua - Lancer.

A special place is assigned to the portrait - the main genre in the work of Serebryakova. These works, depicting close relatives and friends, are created without order and retain the warmth of the home environment. Separately presented children's portraits, as well as scenes of family life. Performed by Temper and Pastel, these fluid sketches are alive transmitted atmosphere of the house of silver.

A significant place among the works of the Russian period is assigned to the landscape. In the images of uncommon, written predominantly by Tever, the artist is striving for picture finishes and epic sounding of images. The same features are inherent in the scenery of the Crimea and the royal village.

The peasant theme is represented by portrait sketches, etudes, sketches and paintings "Banya", "Harvest", "Canvas".

Species of monumental sketches are highlighted in special sections. rospise to the Kazan station in Moscow and a series of paintings revealing the backstage of the Mariinsky Theater.

The work of the Paris period is selected in French collections. None of them repeats the previous show at the 2013 exhibition. These works are exhibited in Russia for the first time. Also for the first time, the Moscow viewer presents decorative panels Villa J.-A. De Broeer, for a long time considered dead during World War II. They found in the 1990s, they were brought to Russia, renovated and shown at the exhibition at the State Russian Museum in 2007.

Works are grouped by the subject-chronological principle and are correlated with the stages of the life of the artist. Each section is accompanied by fragments of art historical texts and memoir evidence of people closely in contact with the art of Serebryakova and retaining live memories of her personality. These quotes make it possible to compare the current perception of the works of Serebryakov with the perception of contemporaries, help deeper to understand its worldview, identify artistic addictions and character traits. The exhibition puts the task to show the art of the artist through the prism of the surrounding life, arguing that the significance of nature in its artistic development. "I had neither then (no now)" certain ideological quests ", and you are right that the stay in Neskuchny allowed me to see the topic excited me - draw the peasants and get involved in their images ..." - She wrote Serebryakov.

Recently, the exhibition dedicated to the 125th anniversary of the famous artist from Benouua Zinaida Serebryakova was in the gallery "House of Nachichkin".
This is an amazing, cheerful and powerful, not at all women's painting. And looking at her at all impossible to guess what kind of difficult fate did God voted this amazing woman.

Behind the toilet. Self-portrait.1908-1909. GTG

I think everyone knows the famous family of Benois in our art.
So Sister Alexander Nikolayevich Benoita - Ekaterina Nikolaevna (she was also a graphic artist) married the sculptor Evgenia Alexandrovich Lancere. Evgeny Alexandrovich Lancer was the best artist an animal of his time. I would even say not only my own.
Family Lancer owned the estate disheveled near Kharkov. And here on December 10, 1884, they had a daughter Zinechik, the last sixth child.
Two Sons Eugene and Nikolai also became creative personalities. Nikolai became a talented architect, and Evgeny Evgenievich -

- Like sister by the artist. He played an important role in the history of the Russian and Soviet art of monumental painting and graphics.
When Zinechka was 2 years old, dad died from tuberculosis. And she with brothers and mom went to St. Petersburg to the grandfather. In a large family of Beno'a.
Children's and youthful years of Zinaida Evgenyevna took place in St. Petersburg. The architecture and museums of St. Petersburg were their influence on the formation of the young artist, the luxurious Park of the Tsarist village, where the family went out in the summer. The spirit of high art reigned in the house. In the families of Benua and Lancer, the main sense of life was the service of art. Every day Zina could observe how adults worked selflessly, wrote a lot of watercolor, whose technique owned everything in the family.

Talent Girls developed under the closer attention of the senior family members: Mothers and brothers who were preparing to become professional artists. The whole home family furnishings brought up respect for the classic art: Santa stories -

Portrait of 1901
Nikolai Leontievich about the Academy of Arts, a trip with children in Italy, where they acquainted with the masterpieces of the Renaissance, visiting museums.

1876-1877: The fountain in front of the facade of the Admiralty in collaboration with A. R. Geshevend was performed by N.L. Benua.
In 1900, Zinaida graduated from the women's gymnasium and entered the art school, founded by the princess M. K. Tenishcheva. In 1903-1905, she was a student of the portrait artist O. E. Braz, who learned to see "general" during drawing, and not draw "in parts". In 1902-1903, she travels to Italy. In 1905-1906 he is engaged in Académie De La Grande Chaumière in Paris.

Winter in the royal village.
In 1905, a exhibition of Russian portraits was organized in St. Petersburg S. Dyagilev. In front of the Russian public, the beauty of the art of Rockotov, Levitsky, Borovikovsky, Venetsianova, was opened for the first time. Venetian portraits of peasants, the poetization of peasant labor inspired Zinaida Serebryakov to create their paintings, pushed to serious work on portraits.

Self-portrait
Since 1898, almost every spring and summer Serebryakov spends in non-pie. The work of young peasant girls in the field attracts her special attention. Subsequently, this is not once reflected in her work.

Cleaning bread
Not far from the estate of Lancer on another bank of the river on the farm is a silver house. Native sister Yevgeny Alexandrovich Lancere - Zinaida - married Anatolia Serebryakov. Their son Boris Anatolyevich Serebryakov was thus the cousin of the artist's cousin.

From children's age, Zina and Boria are raised together. They are near both in St. Petersburg, and in Neskuchny. They love each other, ready to connect their lives, and relatives take their relationship. But the difficulty lies in the fact that the church was not encouraged for marriages of close relatives. In addition, Zinaida - Roman Catholic religion, Boris - Orthodox. After a long weary, trips to Belgorod and Kharkov to the spiritual authorities, these obstacles finally managed to eliminate, and on September 9, 1905 they got married.
Zinaida was passionate about painting, Boris was preparing to become a railroad engineer. Both of what is called, the souls did not care in each other and built the most rainbow plans for the future.

Peasant woman with a junny.
After the wedding, the young went to Paris. With this trip, each of them has been associated with special plans. Zinaida visited the Academy de la Grand Schomyer, where he painted from nature, and Boris signed up to the Higher School of Bridges and Roads as a freelancer.

A year later, full of impressions, silver returned home.

In Neskuchny Zinaida, it works hard - it writes etudes, portraits and landscapes, and Boris as a caring and skillful owner mowers the reed, planting apple trees, follows the processing of land and harvest, is fond of photography.

They with Zinaida are very different people, but these differences are supplemented, combine them. And when they apart (what happens often), Zinaida has a mood, work falls out of her hands.
In 1911, Zinaida Serebryakova enters the newly recreated association "World of Art", one of whose founders was her uncle, Alexander Nikolaevich

Portrait B. Serebryakova.
Since August 1914, B. Serbryakov - Head of the Exercise Party on the construction of the Irkutsk Railway - Bodaybo, and later, until 1919, takes part in the construction of the Ufa Railway - Orenburg. This happy marriage brought the spouses of four children - sons of Zhenya and Shura, daughters of Tanya and Katya. (All of them later tied their lives with art, became artists, architects, decorators.) Tatyana Borisovna died in 1989. She was a very interesting theater artist, he taught 1905 in Mahu. I knew her. It was a bright, talented artist until older with very bright, radiant, black eyes-cherries. Here's like all her children.

At breakfast
If I had not seen these eyes in my life, I would not believe in portraits Z. Serebryakova.
It can be seen in their family were all such eyes.
A wide fame brought a silver self-portrait (1909, GTG (it at the top); first shown at a large exhibition organized by the "world of art" in 1910.

For a self portrait followed the "Buckulcher" (1911, Russian Museum), Portrait of a sister of artist

"Ekaterina Evgenievna Lancere (Zelenkova)" (1913) and the portrait of the mother of the artist "Ekaterina Lancere" (1912, Russian Museum)

- Mature works, solid on the composition. She joined the Society "The World of Art" in 1911, but was distinguished from the other members of the group with love for ordinary plots, harmony, plasticity and generalizations in their canvases.

Self-portrait. Piero 1911.
In 1914-1917, the creativity of Zinaida Serebryakova was experiencing a heyday period. In these years, she draws a series of paintings on the themes of folk life, peasant work and the Russian village, which was so close to her heart: "Peasants" (1914-1915, Russian Museum).

The most important of these works was the "Whitening of the Canvas" (1917, the State Tretyakov Gallery). The figures of the peasants, captured against the background of the sky, acquire monumentality, lined up low horizon line.

They are all written powerfully, juicy, very colorful. This is the anthem of life.
In 1916, Alexander Benoit received an order for the painting of the Kazan Station (*) in Moscow, he invites Evgeny Lancer, Boris Kustodiev, Mstislav Dobuzhinsky and Zinaida Serebryakov to take part in the work. Serebryakova took the topic of the East: India, Japan, Turkey and Siam allegorically presented in the form of beauties. At the same time, it works on a big picture on the themes of Slavic mythology, which remained unfinished.

Zinaida met the October Revolution in his native estate hopeless. Her life suddenly changed.
In 1919, a big mountain happened in the family - her husband, Boris, dies from Tifa. It remains at 35 years old with four children and a sick mother without livelihood. Here I can not not be noted that her mother also remained alone with children about this age and both of them alive and continued to keep loyalty to her so early to leave them in such a young age deceased husbands.

Portrait of B.A. Serbryakov. 1908.
Hunger. Inventory reserves are looted. No oil paints - you have to go to coal and pencil. At this time, she draws its most tragic work - a card house showing all four orphaned children.

She refuses to switch to a popular futuristic style for the Soviets or draw portraits of the Commissioners, but it finds work in the Kharkov Archaeological Museum, where there is pencil sketches of exhibits. In December 1920, Zinaida moves to Petrograd to the grandfather of his grandfather. They really left three rooms. But fortunately condensed their relatives and friends.
Tatiana's daughter began to engage in ballet. Zinaida, together with his daughter, attend the Mariinsky Theater, there are behind the scenes. In the theater, the artist constantly drawn. Creative communication with ballerinas for three years has reflected in an amazing series of ballet portraits and compositions.

Ballet restroom. Snowflakes

Portrait of Ballerina L.A.Ivanova, 1922.

Katya in a masquerade costume at the tree.

In the same house on another floor there was Alexander Nikolaevich with his family, and Zina writes a wonderful portrait of his daughter-in-law with grandson

Portrait of A.A. Cherkesova-Benois with Son Alexander.
In the early years after the revolution, lively exhibition activities began in the country. Serebryakova became a member of several exhibitions in Petrograd. And in 1924, it became the exhibitor of a large exhibition of Russian visual art in America, which was arranged in order to make material assistance to artists. Of the 14 supposed Zinaida Eugene works, two were sold immediately. For the reversed money, she burdened with concerns about the family is decided on a foreign trip with the goal of the exhibition device, receiving orders. Alexander Nikolaevich Benua advised to go to France, hoping that her art would be claimed abroad and she would be able to fix his financial situation. In early September 1924, Serebryakov went to Paris with two children of Sasha and Katya, who were fond of painting. Mom with Tanya, who was fond of ballet and Zhenya, who decided to become an architect, she left in Leningrad, hoping to earn in Paris and return to them.
In the first years of the Parisian life, Zinaida Evgenievna is experiencing great difficulty: there is not enough money even on the necessary expenses. Konstantin Somov, who helped her get orders for portraits, writes about her position: "There are no orders. Houses of poverty ... Zina almost sends everything home ... impractical, makes many portraits in a gift for promising to advertise it, but everything that gets wonderful things It is forgotten ... "
In Paris, Serebryakova lives secluded, nowhere happens, except for museums, and very sad for children. All the years of the emigration of Zinaida Evgenievna writes tender letters to children and mothers who always spiritually supported it. She lives at this time along the Nansen's passport and only in 1947 receives French citizenship.

Tanya and Katya. Girls at the piano 1922.

Self-portrait with daughters 1921.

Zhenya 1907

Zhenya 1909
Zinaida travels a lot. In 1928 and 1930 travels to Africa, visits Morocco. The nature of Africa is striking her, she draws atlas mountains, Arab women, Africans in bright turbans. It also draws a cycle of paintings dedicated to the fishermen of Brittany.

Marakesh. Walls and towers of the city.

Morro in a pink dress.

Moroxy. Pensive man.

In the time of the Khrushchev thaws, contacts with Serebryakova are resolved. In 1960, after 36 years of separation, Tatyana's daughter (Tata) visits her, which became a theater artist in Mkate. In 1966, large exhibitions of the works of Serebryakova were shown in Moscow, Leningrad and Kiev. Suddenly, it becomes popular in Russia, its albums are printed with millions of circulations, and the paintings are compared with Botichell and Renohar. The children called her to return to Russia. However, Serebryakova finds inappropriate at such an old age (80 years) to burden children and close concerns about themselves. In addition, she understands that it will not be able to work fruitfully in the homeland, where the best works were created.
September 19, 1967 Zinaida Serebryakov died in Paris at the age of 82. He was buried at the Cemetery of St. Geneva de-Bois.
Children of Serebryakova - Evgeny Borisovich Serebryakov (1906-1991), Alexander Borisovich Serebryakov (1907-1995), Tatiana Borisovna Serebryakova (1912-1989), Ekaterina Borisovna Serebryakova (1913- ____).

In October 2007, the Russian Museum held a personal exhibition "Zinaida Serebryakov. Nude "
For me, this is a completely separate topic in her work. So powerful and sensually, absolutely not a female writes and draws a naked female body. I do not know another such woman artist.
One of its most famous from this series:

Bath.

"Banya". 1926

Lying nude.

And now we just admire her paintings:

Still life with a jug.

Self-portrait.

Self-portrait with scarf 1911.

Serebryakov Boris Anatolyevich.

Lancer Olga Constative.

In the kitchen. Portrait of Kati.

Portrait of S.R. Ernest. 1921.

Self-portrait with a brush, 1924.

Old woman in Chepetse. Brittany

Self-portrait (1922).

Self portrait (1946).

Benua Alexander Nikolaevich (1924).

Balanchar George (in the costume of Vakha, 1922).

Benouua Clemane Elena Alexandrovna (Elena Braslavskaya, 1934).

Lola Braz (1910).

Scenery. The village of Nesbury Kursk province.

Paris. Luxembourg garden.

Menton. View from the harbor on the city.

Menton. Vellan Ida (portrait of a lady with a dog, 1926).

HER. Lancer in papa 1915.

Liminar Sergey Mikhailovich (1961).

Lukovskaya S.A. (1948).

Well, this many of you see all the time

(girl with a candle, self portrait, 1911).
Tell me that you do not know such an artist. After all, every day, our Zina reminds about her :)) :)
Well and last

Yusupov Felix Feliksovich (Prince, 1925).

Yusupova Irina Aleksandrovna (Princess, 1925).

Biography Zinaida Evgenievna Serebryakova. Artist Zinaida Serebryakova

Read also

Biography Zinaida Serebryakova

Creativity Serebryakova

About the exhibition (text of curators)