Composition based on the painting "Girl in a Headscarf" by Venetsianov. Composition based on painting A

The painting "Girl in a Plaid Headscarf" belongs to the pen of the artist A.G. Venetsianov. The artist, who did not receive an art education, became a master of the portrait genre, he was awarded the title of Academician of the Academy of Arts of Russia. Many portraits were painted by A.G. Venetsianov on orders, including for obtaining the title of academician. But the moment came when he left the service, city life in St. Petersburg and moved to live in the village of Safonkovo. Venetsianov himself separates the periods of his life in the city and in the village, signing works, papers, adds the pseudonym Safonkovsky.
Living in a rural wilderness, he devotes himself to his beloved work with all his heart. Writes how you want and who you want. The sitters were simple peasants and their children. Painting edens of uncomplicated rural life with the participation of serfs, Venetsianov implemented his principle "not to depict anything other than what it is in nature ...". The artist managed to show the harmony of everyday peasant life, nature and man, to reveal the beauty of the Russian soul. The unity of the artist and the people depicted by him is felt in every carefully traced line of the face, the reliability of the expression of the eyes, the pronounced physical and spiritual strength. Venetsianov was able to convey the beauty of simple faces, different from the canonically depicted by the masters of the portrait genre of that time. At that time it was considered bad form to draw representatives of the lower class, but Venetsianov, disregarding conventions, chose for nature the faces of ordinary people that he liked. Depicting peasants, the artist skillfully selected colors, used the play of light and shadow.
He could not help displaying the tiredness from overwork, visible in these people, the expression of resignation to fate on their faces. There are no laughing or even smiling faces. Therefore, among the portraits by A. Venetsianov, "Girl in a checkered scarf" stands out.
There is no information left who posed for the artist, even the exact date of the portrait is unknown. She had to pose for the artist, simply throwing a blue-green checkered scarf over her head and holding it with her hand to her chin. A very young girl, rather a teenager, looks at the artist with humility. Nice, clean, almost childish face. A high forehead, beautifully defined eyebrows, gray-blue and wide-set large eyes, a straight nose, plump crimson lips like a child. The triangular oval of the face, a very soft and pleasant chin give nobility to the girlish face. Her dark brown hair, in a peasant style, is smoothly parted in the middle and pulled back under a headscarf. It seems that the hair is braided in a thick braid.
The hand holding the handkerchief on the chest reveals a simple country girl. Peasantly wide, rather large, with strong fingers, hesitantly presses the handkerchief to her chest.
A scarf thrown over the girl's head, new, similar scarves in a large cage, were worn by peasant women of that time. Probably, the artist bought this scarf especially for the girl and then presented it to her. The scarf is not made of coarse fabric, because the reflections of light are clearly visible on it, like on silk or satin fabric. The basic color of the scarf changes depending on the lighting from blue to green, even the color of the check pattern changes from white-yellow to yellow-red. All the folds of the scarf and even the fringe are carefully traced by the author.
The girl is dressed in a simple shirt made of bleached linen. Probably, she is wearing a Russian sarafan, but the artist did not paint the details of the clothes, focus on the external entourage. The main thing was to accurately portray the girl's face, to show her external beauty, as well as a pure inner world. It seems that the girl, looking at the artist, wants to smile, but, hesitating, restrains herself. The smile hides in the corners of the lips. Natural simplicity and modesty, innocence is visible in all its appearance. At the same time, there is a mystery in her bright living eyes, as in the eyes of any woman.
And everyone can see their own in them, guess what this lovely creature is thinking, what is dreaming about. It is believed that the hardships and hardships of life have not yet touched her, the passing of childhood and the coming youth are not overshadowed by the difficulties and sorrows of the peasant lot. I want her and her life to remain bright, not overshadowed by any troubles.
Thanks to the works of the artist Venetsianov, we can see what ordinary peasants looked like at the beginning of the 19th century, how their daily life was arranged, noticed and accurately captured by the wonderful master on his canvases. The historical significance of the paintings is great as a true source of information about that period of time. Although in the paintings of A.G. Venetsianov, there is a similarity with icons due to a certain flatness of the image, they captivate with their truthfulness, sincerity of the author's view. The magnificent portrait painter Venetsianov lovingly chose the nature for his paintings, so we can still see and admire such paintings as "The Girl in the Checkered Shawl". Looking at this portrait, for some reason it seems that before us is a young Madonna from the canvases of medieval artists.
The painting is kept in the State Russian Museum in St. Petersburg.

The Girl in a Checkered Headscarf - Alexei Gavrilovich Venetsianov. Canvas, oil. 40.4 x 31.1 cm

All his life Venetsianov devoted to the image of the common people. In 1819 the artist left and settled in his small estate - the village of Safonkovo ​​in the Tver province. He no longer paints portraits to order, but depicts serfs: men, women, children, and does it with love and respect. Among such works there are a number of canvases with amazing female images. The described picture is one of them.

This small sketch leaves a lasting impression. The artist depicted a young girl, almost a girl. Her image takes up almost the entire space of the canvas. The girl has a bright, soulful face. She is a classic type of Russian beauty. Clear gray eyes look at the viewer, a half-smile froze on her plump lips, her cheeks are slightly pink with embarrassment. Her blond hair, parted in the middle, is hidden under a large dark blue plaid shawl, which she supports with her hand to keep it from slipping off her head.

The headscarf was of great importance in Russian folk costume. It was worn by women of all classes and ages. And a married woman had to cover her hair with a headdress. A scarf was considered a good gift. It was an integral part of the dowry, which was prepared long before the wedding. Perhaps this scarf was presented to the girl by the artist himself in gratitude for posing, or maybe it was her personal thing. In any case, the scarf sets off the natural beauty of the young peasant woman and focuses the viewer's attention on her radiant face.

Only the hands give out the status of a girl - it is clear that she knows firsthand what hard village work is, because then the children began to help their parents early.

The background of the sketch was deliberately not worked out by the artist. The master paints a female figure on a brown background. It does not distract the viewer's attention from the girl herself. Her pure image involuntarily attracts the eye and remains in the memory.

Venetsianov in his works left us many vivid types of serfs. Behind each of them is a personality, a living person. The artist shows that the serfs, who were then in a slave position, are capable of lofty feelings. They are strong in spirit, beautiful, with a soul wide, like a Russian field, and a big heart.

His female images of peasant women depict women and girls from an early age who know what hard work is, but are beautiful with their inner world, attractive by their natural, natural beauty.

It is not surprising that not all contemporaries appreciated the scale of the provincial artist's talent. The depiction of village life, and even more so of serfs without embellishment in the best traditions of realism, was considered a "low" genre. Venetsianov never became an academician and teacher at the Imperial Academy of Arts, despite the fact that on his estate he managed to teach painting to many talented peasant children.

The artist died in obscurity, but his creations still delight people, praising the Russian people and the Russian land.

The picture shows
A beauty from a Russian fairy tale -
And blameless and modest.
Deep, mysterious and affectionate,

And the girlish gaze is sincere;
Swelling of the lips touches us;
And the hair is parted in the middle
Smooth hairstyles;

And a scythe runs down the back
With an elegant ribbon woven into it.
The peasant woman is a young beauty!
And the viewer, amazed by it,

Hope to get around
Aside from misfortune and sorrow
That the girl is waiting for days of happiness,
And the days of unhappiness are hardly! ..

I didn't know any alarms yet! -
We see it in the picture,
Where is the blue checkered shawl
Throw a hand over his head.

The face shines with warmth
A smile takes an impulse
But modesty and purity
She will hide shyly! ..

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Composition based on the painting: A. G. Venetsianova "The Girl in the Headscarf".
Alexey Gavrilovich Venetsiaonov is a master of portrait painting. But in 1819 he later refuses to paint portraits to order and leaves to live in the village. There he painted pictures about peasant life and the way of life of the common Russian people.
On his canvases, peasant women resemble fabulous beauties. They live a single life with the world around them. It is the beauty of the surrounding nature and the people working on the earth that A.G. Venetsianov. The painting "The Girl in the Headscarf" is slightly different from other canvases.
The painting depicts a young girl wearing a blue checkered scarf over her head. The girl has bright bright eyes. They amaze with some depth, mystery. Her eyes are open. She has not yet experienced sorrow and sorrow. Childishly plump lips make the face of a young peasant woman naive and touching. She seems to want to smile, but natural modesty restrains her impulse. The whole face of the girl glows with purity and spirituality. Hair combed smoothly. They are parted in the middle. It can be assumed that on her back there are two thick braids decorated with ribbons.
The young beauty is modest. Her hand holds the handkerchief to keep it from slipping off her head. She looks at the artist, but as soon as the master looks closely at his model, her eyes are shyly covered by fluffy eyelashes. She will lower her gaze in order to immediately look with her pure gaze at the person who draws her.
Painting a portrait of a girl in a headscarf, A.G. Venetsianov believes that such a person is created for happiness, that the troubles and sorrows of a difficult peasant life will bypass the girl. I would like to believe in this and the viewer, who peers into the young features, admires their virgin purity.

Description of the painting by A. Venetsianov "Girl in a headscarf".
On the reverse side of the picture there is neither the date nor the name and surname of the girl depicted. Mysterious "Girl in a Headscarf"; in most reference books it is dated conditionally. There is no mention of this picture either in Venetsianov's correspondence or in the stories of his relatives. Didn't the author take his work seriously, didn’t share his impressions about it with other artists? A modest portrait of a girl, clearly of peasant origin, painted in a short period of time. However, the birth of this painting marked the beginning of the genre of everyday life in Russian painting.
Alexey Gavrilovich Venetsianov was an ordinary St. Petersburg official, and in his free time he was fond of painting. Copied Rubens and Rembrandt in the Hermitage, painted portraits to order. He became more popular than some artists with the title of "academician of painting"; Venetsianov, according to contemporaries, was a modest decent person. The "painting official", as he was called in the St. Petersburg Academy of Arts, has long developed his own style of writing and personal ideas about painting.
In 1823, already being an academician of painting, Venetsianov decided to move from St. Petersburg to his village Safonkovo. The artist is not overjoyed at his freedom, since then his life has been divided into two parts. Under his brush is the life of the peasants, scenes from village life, the peasants themselves.
In the painting "The Girl in the Headscarf"; the artist painted a young peasant woman in an everyday blue headscarf. The girl's eyes, alive and deep, did not yet know tears and troubles. The look is open, but modest at the same time. Perfect facial features, small mouth, plump lips. Hair is parted in a straight part. The face radiates light and purity. She is still quite a child, the artist seems to want to protect her from the future hardships of peasant life. Venetsianov considers people from the people to be wonderful, for him ordinary people are the embodiment of the true beauty of Russian mother nature.
Drawing "The Girl in the Headscarf"; Venetsianov wanted to emphasize not so much the external beauty of the peasant woman, so much her beautiful, pure inner world, simplicity and modesty.

Alexey Gavrilovich Venetsianov.
Painter, lithographer. Master of everyday life, portrait painter, landscape painter. Born into the family of a poor merchant. He studied at a private boarding school. Since childhood, he discovered the ability and love for drawing, but information about his initial artistic training has not been preserved. He showed particular interest in the portrait.
In 1807 Venetsianov entered the service in St. Petersburg. At the same time, he took up painting seriously: he took lessons from V.L. Borovikovsky, copied the old masters in the Hermitage.
For "Self-portrait" (1811, RM) he received the first academic title "appointed", for "Portrait of KI Golovachevsky, inspector of the Academy of Arts" (1812, RM) was recognized as an academician.
In addition to portrait painting, he was successfully engaged in graphics. During the Patriotic War of 1812, together with I.I. Terebenev and I.A. Ivanov published satirical sheets of military-patriotic content, made in the technique of etching. He willingly turned to lithography, which had just been invented at that time. Venetsianov was one of the members of the legal organization of the Decembrist Union of Welfare - the Society for the Establishment of Schools by the Method of Mutual Education, the purpose of which was to spread literacy among the common people.
In 1818 Venetsianov left the service and began to live for a long time in his Tver estate Safonkovo, embodying new artistic aspirations in painting.
After the success of the painting "The Barn", bought from the artist for a significant amount, he decided to use the proceeds "to educate poor young people" according to a new method. The master's disciples, in some cases serfs, lived and studied with him for free. The school operated alternately in Safonkovo ​​and St. Petersburg, receiving some support from the Society for the Encouragement of Artists. The pedagogical system of the master was reduced to the development in the student of the ability to see and depict the world around him in its immediate reality, outside the predetermined norms and canons.
Official academic circles disapproved of Venetsianov's activities. Pupils Venetsianov did not copy, like academics, other people's originals or special tables depicting individual parts of the body. They comprehended the laws of form, perspective, color on real objects, moving from simple tasks to more complex ones.
During the twenty-year existence of the school, financial difficulties grew, and Venetsianov unsuccessfully sought funds for its maintenance. Attempts to get a teaching position at the Academy of Arts or at the Moscow School of Painting and Sculpture ended in failure.
Venetsianov died suddenly, from an accident on the road - a sleigh that overturned at a sharp turn inflicted a fatal blow on him.