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Vrubel Mikhail Alexandrovich (1856-1910)

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Born in Omsk on March 5, 1856. His mother died when he was only three years old. The family of officer Alexander Mikhailovich Vrubel often moved from city to city. At the age of five or six, the boy began to draw, and at the age of eight, when the Vrubels lived in St. Petersburg, his father brought him to the drawing school of the Society for the Encouragement of Arts.

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In 1874 he graduated from the Richelieu classical gymnasium in Odessa.
Father wished for Mikhail a reliable and secure future, successful career, and therefore, after the gymnasium, 18-year-old Mikhail entered the law faculty of St. Petersburg University. He was completely indifferent to legal sciences. In the autumn of 1880, Mikhail was enrolled as a volunteer at the Imperial Academy of Arts.

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He immediately began to stand out among other students with an unusual style and an original look at classical subjects (impressionism) - just look at his first watercolors - “Entering the Temple” and “Feasting Romans”.

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In 1884, Professor A. V. Prakhov, on the recommendation of P. P. Chistyakov, invited Vrubel to Kyiv to work on the restoration of the St. Cyril's Church of the 12th century. For the marble iconostasis of the temple, Vrubel painted the icons "Our Lady with the Child", "Christ", "Cyril" and "Athanasius". He also created wall paintings.

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Sketches were made for the Vladimir Cathedral, but Vrubel did not start painting (previously he made only some ornaments for the cathedral). Work in Kyiv continued intermittently until 1889.

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Vrubel spent several months in 1884 in Venice, studying painting. early renaissance. After returning to Russia, he continues to work in Kyiv. In the same place, the artist paints a portrait-painting “A Girl Against the Background of a Persian Carpet” (1886), the pictorial matter of which is imbued with the spirit of sadness.

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In 1891, on the anniversary of the tragic death of Mikhail Lermontov, a unique complete collection of the poet's works was published, for the design and work on which many famous artists of that time were involved. Among other masters was Mikhail Vrubel.
Duel Pechorin with Grushnitsky

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It was Vrubel's drawings for Lermontov's poem "The Demon" that best approached the very essence, the very spirit of Lermontov's poetry. Without these illustrations by Vrubel, the goal of publishing Lermontov's works would not have been achieved.
Demon flying. Black watercolor.

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Vrubel was in many ways an innovator for his time. The artist breaks with the academic principles of fine art Art XIX century: an indispensable image of movement and the presence of intrigue. Now silence and mystery are full-fledged characters in the visual arts. Vrubel proves this in his work with such masterpieces as Hamlet and Ophelia (1883), Seated Demon (1890).

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Until 1896, Vrubel was one of the prominent figures of the Abramtsevo circle, the “court painter” of S. Mamontov. He was engaged in interior design in the mansions of Moscow patrons and bourgeois, preferring to use fantasies on the theme of the ancient world and medieval knightly legends in their design. Vrubel acted as an architect and craftsman applied arts- created a project for the facade of the house of S. I. Mamontov on Sadovo-Spasskaya Street in Moscow (1892), and for the gate of Mamontov's house in Moscow - a decorative sculpture "Lion Mask".

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Morozov's mansion on Spiridonovka
In 1894 he received an order for the decoration of Savva Morozov's mansion. In the design of the mansions of S. T. Morozov on Spiridonovka and A. V. Morozov in Podsosensky Lane, Vrubel worked together with the most significant architect of Moscow Art Nouveau Fyodor Shekhtel.

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MA Vrubel participated in the design of the performances of Savva Mamontov's Russian Private Opera, and at the end of December 1895, together with the troupe, went on tour to St. Petersburg. There, at the Panaevsky Theater on Admiralteyskaya Embankment, at a rehearsal of E. Humperdinck's opera Hansel and Gretel, Mikhail met the singer Nadezhda Zabela, his future wife.
Portrait of actresses Tatyana Lubatovich as Hansel and Nadezhda Zabela

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Spouses: Mikhail Vrubel and Nadezhda Zabela-Vrubel.
On July 28, 1896, the wedding of Zabela and Vrubel took place in Switzerland. The happy newlywed wrote to her sister: “Every day I find new virtues in Mikhail Alexandrovich; firstly, he is unusually meek and kind, simply touching, besides, I always have fun and surprisingly easy with him. I certainly believe in his competence regarding singing, he will be very useful to me, and it seems that I will be able to influence him.

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Zabela truly became his muse: her fantasy portrait, painted in the year of her marriage, is called “Muse”.

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Mikhail Vrubel. The Swan Princess. A fragment of an illustration from Dmitrieva's book about the artist.
The Russian theme in Vrubel found a capacious display in such works as "Bogatyr" (1898), "Prince Gvidon and the Swan Princess" (1890), "Mikula Selyaninovich" (1895-1896) and the textbook "The Swan Princess"

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In 1899 and 1900, Vrubel was in charge of the Abramtsevo majolica workshop and left a number of interesting majolica sculptures there. fairy themes"Lel", "Volkhova". "Kupava".
Lel
Volkhov

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Vrubel's participation in the exhibition activities of the "World of Art" and a number of international exhibitions brought the artist European fame. Among his later masterpieces are the paintings “The Swan Princess”, “Lilac” (both 1900), “Demon Defeated” (1902), “Six-winged Seraphim” (1904) and others.

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In the summer of 1901, the first-born, Savvochka, appeared in the Vrubel family. From birth, the boy was sick and died two years later. Perhaps this was the reason that in 1902 Mikhail Alexandrovich showed signs of mental illness.

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On March 11, the famous psychiatrist Vladimir Bekhterev made a diagnosis, saying that the disease was incurable. His wife took Vrubel to a dacha in the Ryazan province. From April to the end of August he was treated in Moscow. He spent two months in the clinic. In 1905, the disease worsened. In March, Vrubel went to the clinic of F. A. Usoltsev for treatment. At the same time, he continued to work on the paintings "Azrael" and "The Vision of the Prophet Ezekiel", "After the Concert", a graphic self-portrait.

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Museum fine arts them. Vrubel. Vrubel Corps. Omsk

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Monument to the artist M.A. Vrubel – Omsk
An outstanding Russian artist of the turn of the 19th-20th centuries, a master of universal possibilities, who glorified his name in almost all types and genres of fine art: painting, graphics, decorative sculpture, theatrical art. He was known as the author of paintings, decorative panels, frescoes, book illustrations. In art silver age Vrubel played a huge role. In his work, he reflected both the ideas of modernity and symbolism, and the beginnings of new artistic directions. Describing the artist and his work, K. Petrov-Vodkin wrote: "Vrubel was our era."

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SOURCES
WIKIPEDIA. http://en.wikipedia.org/wiki/
The presentation was prepared by the teacher primary school MAOU " secondary school No. 8 "Kogalym Dovbnya S.V.

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Vrubel had the gift to discover in any fragment of nature, "a whole world of endlessly harmonizing wonderful details." He saw nature as a precious mosaic of particles. Of his foreign contemporaries, M. Fortuny had the greatest influence on him. First academic works Vrubel's paintings were distinguished by originality of conception and originality of interpretation (the watercolors "Entering the Temple" and "Feasting Romans"). M.A. Vrubel has always been interested in antiquity: in his university years, during his stay at the Academy and later, having found a peculiar interpretation in his work. In the unfinished watercolor "Feasting Romans" (1883, Russian Museum), with some theatricality of the whole scene and passion for accessories, the artist's intention to convey the life of a particular historical period. The image of an elderly Roman, immersed in a heavy slumber, is expressive. In his characteristic head there is a resemblance to Roman portraits, probably known to the artist from casts or reproductions. It is significant that Vrubel was attracted not by Greece, but by Rome of the time of its decline. Apparently, in this the artist felt something consonant with his moods and his era.

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"Scene from Ancient Life" in a sketch for a theatrical curtain (1891, Tretyakov Gallery) is a pictorial fantasy on an antique theme. Pictured again ancient rome. But only pines in the background remind of the latter, and a marble statue, a figure of a musician, evoking distant associations with the image of Sappho, and a man sitting next to him with the features of Socrates, remind of antiquity; the rest of the characters have a completely exotic appearance, and in the type and expression of the face of one of them, a resemblance to the Demon is suddenly revealed. Space gravitates towards the plane, and volumetric forms foreground, projected onto the background plane, are ready to turn into an exquisite pattern. The triptych "The Judgment of Paris" (1893; Tretyakov Gallery), which includes the panels "Juno", "Venus, Cupid and Paris", as well as the panel "Minerva", is again a romantic fantasy on an ancient theme with a significant degree of theatricality. The landscape is perceived as purely decorative, and the dolphins seem to be some kind of papier-mâché products. A kind of revival is brought about by semi-real, semi-fantastic characters, probably depicting tritons and created not without the influence of Böcklin's works. Vrubel's work is marked by undeniable poetry and a subtle aesthetic sense; but at the same time, its figurative structure is characterized by a certain inorganism that lies at the very basis of the artistic concept of modernity with its characteristic complexity of thinking, a multitude of aesthetic associations and mediations, a trend that has largely affected Vrubel's work as well.

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In the 80s of the XIX century. Vrubel is introduced to the artistic heritage of Russia and Byzantium. In 1884, at the invitation of Professor A.V. Prakhov, he participated in the restoration of murals and frescoes in the St. Cyril's Church in Kyiv, created a number of compositions on its walls, the most complex of which are "The Descent of the Holy Spirit" and "Tomb Lament". In 1887, he was entrusted with the execution of frescoes for the Vladimir Cathedral in Kyiv, but the sketches presented by Vrubel "Tombstone Lament" and "Resurrection", "Angel with a censer and a candle" (Kyiv, Museum of Russian Art) and others with their strict solemn composition, the melodiousness of the drawing speaks of a deep creative perception of ancient Russian and Byzantine monumental art. In their coloring, in the whole pictorial system, the drama, expression and spirituality of the images are expressed, which did not prevent the church commission from recognizing them as satisfactory due to the lack of religiosity. Vrubel was inwardly closer to the art of Byzantium than Ancient Russia. But in both cases, his understanding of style was much more serious than that of a number of his contemporaries who worked next to him in Kiev churches.

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Very characteristic of Vrubel is the story of his writing an independent composition in the St. Cyril's Church - "Tombstone Lament". Having made four variant sketches, Vrubel wrote one of them, in his opinion the most successful, and this sketch was recognized by Prakhov as a "finished work". The composition of the "Tombstone" is inscribed in a semicircular frame, to which all the figures obeyed. The type of Christ's face, his thin, emaciated body evoke associations with Byzantine originals. The same can be said about the three big-eyed angels who mournfully bent over him. The planar nature of the images conveyed by clear generalized silhouettes, the pattern of folds, the very expressive rhythm of figures and all contours, the rich and at the same time restrained warm color - all this was very subtly found by the artist. This time, Vrubel followed the line of the primitive, seemingly not trying to complicate his work by introducing elements of the intellectual's worldview. late XIX century; at some point, he seemed to feel like an ancient painter, forgetting about everything around him: it is possible that this was due to his inherent gift of reincarnation. Icons for the "Byzantine iconostasis" of the St. Cyril Church - "Christ", "Our Lady", "St. Cyril" and "St. Athanasius", were painted by Vrubel not only outside the walls of the St. Cyril Church, but not even in Russia, but in Italy: in 1885 year the artist went to Venice in order to study the ancient Byzantine mosaics. He studied the famous mosaics of the Cathedral of San Marco and the paintings of the famous Venetians of the Renaissance. Vrubel was especially attracted by the masters closely associated with the medieval tradition - Carpaccio, Cima da Conegliano, Giovanni Bellini. Venice enriched his palette.

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- a presentation on the MHK, dedicated to the work of a brilliant Russian artist of the era of symbolism and.

Mikhail Vrubel - cryptography of the inexpressible

Mikhail Vrubel is one of my favorite artists! Perhaps, it is to him, or rather, to his “Seated Demon”, that I owe my love for painting. While still a schoolgirl, I cut out a reproduction of The Demon from the magazine Ogonyok and attached it to the wall in my room. Now, when so many years have passed since that first "meeting", from time to time there is a need to go to the Vrubel hall of the beloved Tretyakov Gallery. Agree that a real work of art always reveals something new, asks questions to which you are looking for and do not find an answer.

"Daemon"

Mikhail Vrubel - master monumental painting, sculptor, talented graphic artist, unique, inimitable painter. Having started creative way in the St. Cyril Church in Kyiv, restoring and creating frescoes with images of the Mother of God, prophets, angels, apostles, even then he was thinking of his main character. Why Demon? Neither art critics nor artists have an answer to this question. Let me make my guess. First, you need to remember at what time Vrubel worked.

"Nineteenth century, iron,

Truly a cruel age!

You in the darkness of the night, starless

Careless abandoned man!

Twentieth century ... More homeless

Yet scarier than life haze

(Even blacker and bigger

Shadow of Lucifer's wing).

Smoky sunset fires

(Prophecies of our day)

Comets formidable and tailed

A terrible ghost in the sky

Merciless end of Messina

(Elemental forces cannot be overcome),

And the relentless roar of the machine

Forging death day and night

Consciousness of a terrible deceit

All former small thoughts and faiths,

And the first takeoff of an airplane

Into the wilderness of unknown realms...

And disgusted with life

And crazy love for her

And passion and hatred for the motherland ...

And black, earthly blood

Promises us, inflating veins,

All destroying the frontiers,

Unheard of changes

Unprecedented rebellions…” Alexander Blok. Retribution

The art of the turn of the 19th-20th centuries is based on the idea of ​​symbolism, which is based on the idea of ​​the existence of real things and phenomena behind the world, another world hidden from ordinary consciousness. The only way to know this hidden, secret is the creative process. Thus, the artist (poet, musician, painter) becomes an intermediary between our world and supersensible reality.

Dear friend, can't you see

That everything we see

Only reflections, only shadows

From invisible eyes?

Dear friend, don't you hear

That the noise of life is crackling -

Just a garbled response.

Triumphant harmonies?

Vladimir Solovyov

The worldview, the worldview of the symbolists is approaching the worldview of the romantics. In fact, the symbolism of the end of the 19th century is very close to the beginning of the century. Mikhail Vrubel, like many geniuses, was ahead of his time. Becoming the first symbolist among artists, being a real romantic, he remained misunderstood, lonely. Like any romantic, he did not tolerate philistinism, gray everyday life. He believed in magic power art to save the world. Like any romantic, Vrubel was inspired by brightly colored, mysterious, suffering images. Demon Vrubel is exactly that.

Vrubel and Lermontov

Another vivid example of Vrubel's interest in romantic subjects is embodied in a grandiose panel, as well as on the facade of the Metropol Hotel in the form of a mosaic.

If you agree with my previous statement, it becomes clear special treatment Mikhail Vrubel to the work of Lermontov. Lermontov is a romantic of the first half of the century, close to Vrubel, a romantic of the end of the century. You can read about how close these two geniuses were in the book. PC. Suzdalev "Vrubel and Lermontov". In my presentation you will find a separate "chapter" dedicated to illustrations for "The Demon" by Lermontov. I added musical excerpts from Rubinstein's opera The Demon to the slides.

Presentation “Mikhail. Vrubel ”turned out to be very large, but if fellow teachers or students and schoolchildren want to use it, they may well divide it into parts. You can hear the music fragments by opening the presentation in PowerPoint.

I recommend, dedicated to the work of two outstanding symbolist artists: Mikhail Vrubel and Valery Bryusov. More precisely, the images of angels and demons, which occupied a significant place in their work. This article contains a poem addressed to Vrubel, in my opinion, wonderful:

... We are not available, we are invisible,
Between the hosts of crying forces,
Seraphim descend to you
In the radiance of multi-colored wings ...

... And at an hour at the fiery sunset
You saw between the ancient mountains,
Like a spirit of greatness and curses
Fell into a hole from a height.

And there, in the solemn desert,
Only you comprehended to the end
Outstretched wings glitter peacocks
And the sorrow of the face of Eden!

For the curious, I put a list of books about the symbolism and work of Mikhail Vrubel:

• Gusarova Alla. Mikhail Vrubel. Album. - M .: Shamrock, 1997.
• Dmitrieva N.A. Short story art. - M .: Art, 1992.
• Koroleva S. Mikhail Alexandrovich Vrubel. - M.: "Direct-Media", 2010.
• Neklyudova M.G. Traditions and innovation in Russian art of the late XIX - early XX century. Moscow "Art", 1991.
• Rakitin V.I. Vrubel. - Moscow: Art Publishing House, 1971.
• Rusakova A.A. Symbolism in Russian painting. − M.: “ White City", 2001.
• Samin D.K. One hundred great artists. − M.: Veche, 2004.
• Solovyov V.M. Golden Book of Russian Culture. - M .: "White City", 2007.
• Suzdalev P.K. Vrubel and Lermontov. − M.: Image. Art, 1980.
• Tarabukin N.M. Mikhail Alexandrovich Vrubel. -M.: "Art", 1974.
• Fedorova N.A. 50 biographies of masters of Russian art. - Leningrad "Aurora, 1971.

Good luck!

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Slides and text of this presentation

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Vrubel had the gift to discover in any fragment of nature, "a whole world of endlessly harmonizing wonderful details." He saw nature as a precious mosaic of particles. Of his foreign contemporaries, M. Fortuny had the greatest influence on him. Vrubel's first academic works were notable for their originality of conception and uncommon interpretation (the watercolors "Entering the Temple" and "The Feasting Romans"). M.A. Vrubel has always been interested in antiquity: in his university years, during his stay at the Academy and later, having found a peculiar interpretation in his work. In the unfinished watercolor "Feasting Romans" (1883, Russian Museum), with some theatricality of the whole scene and passion for accessories, the artist's intention is undoubtedly to convey the life of a particular historical period. The image of an elderly Roman, immersed in a heavy slumber, is expressive. In its characteristic head there is a resemblance to Roman portraits, probably known to the artist from casts or reproductions. It is significant that Vrubel was attracted not by Greece, but by Rome of the time of its decline. Apparently, in this the artist felt something consonant with his moods and his era.

Slide 7

Description of the slide:

"Scene from Ancient Life" in a sketch for a theatrical curtain (1891, Tretyakov Gallery) is a pictorial fantasy on an antique theme. Ancient Rome is depicted again. But only pines in the background remind of the latter, and of antiquity - a marble statue, a figure of a musician, causing distant associations with the image of Sappho, and a man sitting next to him with the features of Socrates; the rest of the characters have a completely exotic appearance, and in the type and expression of the face of one of them, a resemblance to the Demon is suddenly revealed. The space gravitates towards the plane, and the volumetric forms of the foreground, projected onto the plane of the background, are ready to turn into an exquisite pattern. The triptych "The Judgment of Paris" (1893; Tretyakov Gallery), which includes the panels "Juno", "Venus, Cupid and Paris", as well as the panel "Minerva", is again a romantic fantasy on an ancient theme with a significant degree of theatricality. The landscape is perceived as purely decorative, and the dolphins seem to be some kind of papier-mâché products. A kind of revival is brought about by semi-real, semi-fantastic characters, probably depicting tritons and created not without the influence of Böcklin's works. Vrubel's work is marked by undeniable poetry and a subtle aesthetic sense; but at the same time, its figurative structure is characterized by a certain inorganism that lies at the very basis of the artistic concept of modernity with its characteristic complexity of thinking, a multitude of aesthetic associations and mediations, a trend that has largely affected Vrubel's work as well.

Slide 8

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In the 80s of the XIX century. Vrubel is introduced to the artistic heritage of Russia and Byzantium. In 1884, at the invitation of Professor A.V. Prakhov, he participated in the restoration of murals and frescoes in the St. Cyril's Church in Kyiv, created a number of compositions on its walls, the most complex of which are "The Descent of the Holy Spirit" and "Tomb Lament". In 1887, he was entrusted with the execution of frescoes for the Vladimir Cathedral in Kyiv, but the sketches presented by Vrubel "Tombstone Lament" and "Resurrection", "Angel with a censer and a candle" (Kyiv, Museum of Russian Art) and others with their strict solemn composition, the melodiousness of the drawing speaks of a deep creative perception of ancient Russian and Byzantine monumental art. In their coloring, in the whole pictorial system, the drama, expression and spirituality of the images are expressed, which did not prevent the church commission from recognizing them as satisfactory due to the lack of religiosity. Vrubel was inwardly closer to the art of Byzantium than that of Ancient Russia. But in both cases, his understanding of style was much more serious than that of a number of his contemporaries who worked next to him in Kiev churches.

Slide 9

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Very characteristic of Vrubel is the story of his writing an independent composition in the St. Cyril's Church - "Tombstone Lament". Having made four variant sketches, Vrubel wrote one of them, in his opinion the most successful, and this sketch was recognized by Prakhov as a "finished work". The composition of the "Tombstone" is inscribed in a semicircular frame, to which all the figures obeyed. The type of Christ's face, his thin, emaciated body evoke associations with Byzantine originals. The same can be said about the three big-eyed angels who mournfully bent over him. The planar nature of the images conveyed by clear generalized silhouettes, the pattern of folds, the very expressive rhythm of figures and all contours, the rich and at the same time restrained warm color - all this was very subtly found by the artist. This time, Vrubel followed the line of the primitive, seemingly not trying in any way to complicate his work by introducing elements of the attitude of an intellectual of the late 19th century; at some point, he seemed to feel like an ancient painter, forgetting about everything around him: it is possible that this was due to his inherent gift of reincarnation. Icons for the "Byzantine iconostasis" of the St. Cyril Church - "Christ", "Our Lady", "St. Cyril" and "St. Athanasius", were painted by Vrubel not only outside the walls of the St. Cyril Church, but not even in Russia, but in Italy: in 1885 year, the artist went to Venice in order to study the ancient Byzantine mosaics located there. He studied the famous mosaics of the Cathedral of San Marco and the paintings of the famous Venetians of the Renaissance. Vrubel was especially attracted by the masters closely associated with the medieval tradition - Carpaccio, Cima da Conegliano, Giovanni Bellini. Venice enriched his palette.

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Vrubel Mikhail Aleksandrovich LIFE AND CREATIVITY OF THE GREAT RUSSIAN ARTIST.

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Vrubel Mikhail Aleksandrovich Mikhai l Alexa ndrovich Vrubel (Polish Wróbel; March 5 (17), 1856, Omsk - April 1 (14), 1910, St. Petersburg) - Russian artist of the turn of the 19th-20th centuries, master of universal possibilities, who glorified his name in almost all types and genres of fine arts: painting, graphics, decorative sculpture, theatrical art. He was known as the author of paintings, decorative panels, frescoes, and book illustrations. was married to famous singer N. I. Zabele, whose portraits he repeatedly painted.

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Biography Childhood Mikhail Alexandrovich Vrubel was born on March 5 (17), 1856 in Omsk, in the family of a military officer, a participant in the Crimean campaign, who later became a military lawyer. His father's ancestors came from Prussian Poland ("wróbel" in Polish - a sparrow). The artist's mother was a Dane. In the service, his father had to move often - Omsk, Astrakhan, St. Petersburg, Odessa. IN educational institutions In these cities, he showed a variety of inclinations for the sciences: ... in his gymnasium years in St. Petersburg (Fifth Gymnasium near Alarchin Bridge) and in Odessa (Rishelyevskaya) his brother was significantly distracted from his beloved art; he is fond of natural science in the first (and, by the way, he forms a whole system of crystals from chalk), and in the second - history, according to which he writes, in excess of the norm, large essays on topics from ancient life and the Middle Ages - From the memoirs of A. A. Vrubel, artist's sisters From the beginning of January 1864 to April 1867, the Vrubel family lived in Saratov, where Mikhail's father was commander of the Saratov provincial battalion. During these years, young Mikhail Vrubel studied with a well-known artist in Saratov, a graduate of the Academy of Arts A. S. Godin. The subjects of the gymnasium course were taught to him by N. A. Peskov, who was expelled from Kazan University "for participating in student unrest." In May 1867, the Vrubel family again moved to St. Petersburg. In 1874 he graduated from the Richelieu classical gymnasium in Odessa. Fresco "Our Lady" in St. Cyril's Church

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Biography Father wished for Mikhail a reliable and secure future, a successful career, and therefore, after the gymnasium, 18-year-old Mikhail entered the law faculty of St. Petersburg University. He was completely indifferent to legal sciences. All his interests were outside the university walls. He was seriously interested in the philosophy of Kant, fell in love with opera actresses, argued about art, always remaining a supporter of the so-called "pure art", and painted a lot. He attended the evening class of P. P. Chistyakov at the Academy of Arts, who taught Vasily Polenov and Valentin Serov, Repin and Surikov, and Viktor Vasnetsov. From his university years, his illustrations for Turgenev and Tolstoy have been preserved, and among them is the famous scene of Karenina's meeting with her son - graceful and beautiful, but in which Anna turned out to be more like a fatal and demonic woman than Leo Tolstoy's simple and sweet Anna. In 1879, at the age of 23, Mikhail graduated from the university with a gold medal. After that, he served his military service, having received the rank of scorer in the reserve. For a short time he worked in the main military-ship administration. University Demon Seated

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Imperial Academy of Arts Biography In the autumn of 1880, Mikhail was enrolled as a volunteer in the Imperial Academy of Arts, where he studied again in the class of Pavel Chistyakov. He immediately began to stand out among other students with an unusual style and an original look at classical subjects (impressionism) - just look at his first watercolors - “Entering the Temple” and “Feasting Romans”. From an absent-minded and frivolous student, he turned into a fanatic of his work. “We must work and work,” he addressed his sister with some previously unfamiliar pedantry. He met and became close friends with Valentin Serov. Along with Serov, Vrubel was one of the most devoted and one of the most distinguished students of Chistyakov, who became his idol for a long time. It was from him that he inherited his love for nature, for drawing, for the exposure of form and for the classics. Imperial Academy of Arts Portrait of actresses Tatyana Lubatovich as Hansel and Nadezhda Zabela

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In 1884, Professor A.V. Prakhov, on the recommendation of Pavel Chistyakov, invited Vrubel to Kyiv to work on the restoration of the St. Cyril's Church of the 12th century. For the marble iconostasis of the temple, Vrubel painted the icons "Athanasius", "Our Lady", "Christ" and "Cyril". In addition, he created wall paintings. He also restored murals in the dome of St. Sophia Cathedral. Sketches were made for the Vladimir Cathedral, but Vrubel did not start painting (previously he made only some ornaments for the cathedral). Work in Kyiv continued intermittently until 1889. In 1886, an acquaintance with Konstantin Korovin took place. In the same year, during his next visit to Kyiv, Vrubel painted the painting "A Girl Against the Background of a Persian Carpet" (KMRI). The portrait depicts the daughter of the owner of a loan office in Kyiv. From September 1889 he lived in Moscow, settling with Korovin. Works in a workshop in Chernenko's house on Dolgorukovskaya street together with Serov and Korovin. In the fall, Vrubel met the entrepreneur and well-known philanthropist Savva Mamontov. Since December, he moved to live in his house on Sadovaya-Spasskaya Street. Biography Independent work The Swan Princess (1900, State Tretyakov Gallery) Abramtsevo period (1890-1893) Vrubel acted as an architect and master of applied arts - he designed the facade of the house of S. I. Mamontov on Sadovo-Spasskaya Street in Moscow (1891), and for gate of Mamontov's house in Moscow - a decorative sculpture "Mask of a Lion".

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Biography In 1894 he received an order for the decoration of Savva Morozov's mansion. In the design of the mansions of S. T. Morozov on Spiridonovka and A. V. Morozov in Podsosensky Lane, Vrubel worked together with the most significant architect of Moscow Art Nouveau Fyodor Shekhtel. In 1895 he became a member of the Moscow Association of Artists and participated in the 3rd exhibition of the association. Participated in the design of the performances of Savva Mamontov's Russian Private Opera, and at the end of December 1895, together with the troupe, went on tour to St. Petersburg. There, at the Panaevsky Theater on Admiralteyskaya Embankment, at a rehearsal of E. Humperdinck's opera Hansel and Gretel, Mikhail met the singer Nadezhda Zabela, his future wife. Marriage, further work(1894-1901) Morozov's mansion on Spiridonovka July 28, 1896 in Geneva, Mikhail Vrubel and Nadezhda Zabela got married. After that, the newlyweds left for Lucerne, where Vrubel continued to work on the panel for the Gothic study of A. V. Morozov. From February to April 1898, together with his wife, he participated in the tour of the Russian Private Opera of S. I. Mamontov in St. Petersburg. Became close to the composer N. A. Rimsky-Korsakov. At the same time, Vrubel met a group of artists of the future association "World of Art". He was invited to participate in the exhibition "Russian and Finnish Artists", which took place at the beginning of the year in the museum of the Central School of Technical Drawing of Baron A. L. Stieglitz. On September 1, 1901, a son was born to Mikhail and Nadezhda. He was named Savva, in honor of the philanthropist Savva Mamontov, who helped the artist so much. At this time, Vrubel began to paint the second version of the painting "Lilac" (not finished, State Tretyakov Gallery) and the painting "Easter Years", which he himself destroyed.

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Biography At the beginning of 1902, the artist showed signs of a mental, or, as they said at that time, mental disorder. On March 11, the famous psychiatrist Vladimir Bekhterev made a diagnosis, saying that the disease was incurable. His wife took Vrubel to a dacha in the Ryazan province. From April to the end of August, he was treated in Moscow at the clinic of F. A. Svavey-Mogilevich, and from September 6 to February 18, 1903, at the clinic of V. P. Serbsky at Moscow University. On July 9, 1904, Vrubel was taken to the clinic of F. A. Usoltsev in Petrovsky Park. He was in such a violent state that four orderlies could hardly keep him. He spent two months in the clinic. Fyodor Arsenyevich wrote about Vrubel in his memoirs: “I saw him at the extreme stages of excitement and confusion, a painful upsurge of feeling and thought, the dizzying speed of ideas, when bodily means could not keep up with their rushing whirlwind. And yet he did it. He covered the walls of his house with fantastic and seemingly ridiculous lines and colors. He sculpted from clay and everything that came to hand, monstrously absurd figures. But as soon as he listened to his speeches, delved into them, the absurdity seemed to disappear. These fragments were understandable, not keeping up with their uncontrollably rushing, but vivid image. In 1905, the disease worsened. In March, Vrubel went to the clinic of F. A. Usoltsev for treatment. At the same time, he continued to work on the paintings “Azrael” and “The Vision of the Prophet Ezekiel” (RM), “After the Concert” (TG), and a graphic self-portrait (TG). Years of illness (1902-1910) Hamlet and Ophelia (1884, Russian Museum)

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In November 1905, Vrubel was awarded the title of academician. In December, his eyesight deteriorates sharply. The last picture he was able to paint was a portrait of the poet V. Ya. Bryusov (TG). At the end of February 1906, the artist completely lost his sight. After that, on March 6, Usoltsev Vrubel was transferred from the clinic to St. Petersburg to the clinic of Konasevich and Orshansky. In 1906, Mikhail Vrubel was transferred to the clinic of Dr. Bari on Vasilyevsky Island, where he spent last years life. In the same year, S. P. Diaghilev arranged a retrospective of the artist’s works at the exhibitions of the World of Art in St. Petersburg and Russian art at the Autumn Salon in Paris, where Pablo Picasso admired Vrubel’s works. He spent the summer of 1908 at the dacha under the supervision of Dr. Morozov. His sister read to him, his wife sang. On April 1 (14), 1910, Vrubel died in the clinic of Dr. Bari. On April 3, the funeral took place at the cemetery of the Novodevichy Convent in St. Petersburg. Alexander Blok made an inspirational speech at the funeral, calling the artist "a messenger of other worlds." A. Blok over Vrubel's grave said: “He left us his Demons, as spellcasters against purple evil, against the night. I can only tremble before what Vrubel and his ilk reveal to humanity once a century. The worlds that they saw, we do not see. Biography The artist's wife, (1898)

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In Moscow, at the School of Painting, Sculpture and Architecture, a memorial service for the deceased artist was performed that day. The funeral service was attended by: the director of the school, Prince A. E. Lvov, professor of painting V. M. Vasnetsov, artists K. N. Gorsky, A. E. Arkhipov, A. M. Vasnetsov, L. O. Pasternak, S. V Ivanov, S. M. Volnukhin, A. S. Stepanov and students. In 1913, his wife, N. I. Zabela-Vrubel, was buried nearby. In 1935-1936, it was planned to transfer Vrubel's grave to the museum necropolis of the Alexander Nevsky Lavra, but this plan was not implemented. Around 2000, photographer Valery Plotnikov found the abandoned grave of Mikhail Vrubel and began to look after it, put it in order. Lady in purple. Portrait of N. I. Zabela Vrubel (1900s, Russian Museum) Morning (1897) Biography

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Vrubel was in many ways an innovator for his time. The artist breaks with the academic principles of the fine arts of the 19th century: the indispensable depiction of movement and the presence of intrigue. Now silence and mystery are full-fledged characters in the visual arts. Vrubel proves this in his work with such masterpieces as Hamlet and Ophelia (1883), Seated Demon (1890). Love and death are Vrubel's favorite themes, which are revealed to the viewer under different symbols. So, in the painting “Girl against the background of a Persian carpet” (1886), we see a certain excess of luxury, which is an allegory of perishability, sadness and the inevitability of the end. The idea of ​​death is also seen in The Fortune Teller (1895). The Russian theme in Vrubel found a capacious display in such works as "Bogatyr" (1898), "Prince Gvidon and the Swan Princess" (1890), "Mikula Selyaninovich" (1895-1896) and the textbook "The Swan Princess" (1900) . Themes Flying Demon (1899, Russian Museum)

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In the 1920s-1930s, the Art and Industrial School (later technical school) named after M.A. Vrubel worked in Omsk. Museum of Fine Arts. M. A. Vrubel is located in the city of Omsk at the address. Lenina, house 3A. In Omsk, on the left bank of the Om, there is Vrubel Square. Monument in Omsk near the Museum of Fine Arts. In Kyiv, on the house at 14 Desyatinnaya Street, there is a memorial plaque in honor of M. A. Vrubel (sculptor I. Kavaleridze, 1962). The city has Vrubelevsky Spusk not far from St. Cyril's Church. In Moscow, in the village of Sokol, there is Vrubel Street. In Voronezh there is Vrubel street. Moscow has a children's art school them. MA Vrubel Memory of Vrubel Museum of Fine Arts. Vrubel. Vrubel Corps. Omsk

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