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Maybe, beautiful people always attracted the attention of artists. Through its power, beauty has ruled the world, entire civilizations and cultures. But there is beauty of the highest grade. When the proportions of the face and forms are not attractive Special attention, and personality traits are eye-catching. I think that's why A.G. got the idea. Venetsianov to paint a portrait of a girl in a headscarf. Who was this girl? What role does the portrait play in our time?
The girl depicted in the painting by A.G. Venetsianova, at first glance, not rich, but her inner world full of mystery and tenderness, sensitivity and sensuality. Hair, simply styled with a parting in the middle, ordinary clothes, a meek look, everything in her speaks of simplicity and her belonging to a modest class. But this is not the focus of the artist. The expression of her beautiful eyes, that's what first caught my eye. She seems to be laughing, looking at me, and at the same time, her gaze is affectionate. The scarf is not tied, but simply thrown over the head. It is clear that she is only posing in front of the artist. Indeed, an ordinary scarf adorns the appearance of this unknown girl so much that as soon as she matured. Take off her handkerchief, so she will look thirteen or fifteen years old. Still quite young. But the scarf makes her look feminine and charming. The lips are also slightly tucked into a smile, clean and welcoming. In general, the image turned out to be somehow bright and pleasant, like the sun on a warm May day!
It immediately seemed to me, as soon as the portrait "Girl in a headscarf" caught my eye, that in front of me was a Slavic copy of the "Gioconda". The same enigmatic smile, the head turned in the same way, tender lips that do not fully know whether to join them in a smile with their eyes. Only the hand that holds the handkerchief showed the inexperience of nature, unlike her Italian great-grandmother.
The picture shows
Beauty from a Russian fairy tale -
Both innocent and humble.
Deep, mysterious and tender,
And the girl's gaze is sincere;
The swelling of the lips touches us;
And the hair is parted
Hairstyles smooth separates;
And a scythe runs down the back
With an elegant ribbon woven.
The peasant woman is a young beauty!
And the viewer, amazed by it,
Hope they get around
Side of trouble and sadness,
That the days of happiness await the girl,
And the days of misfortune are hardly! ..
Haven't had any worries yet! -
We see it in the picture
Where is the blue checkered handkerchief
Throw a hand over the head.
The face glows with warmth
Smiling takes a rush
But modesty and purity
She will cover herself shamefully!..
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Thank you very much, dear Lenochka! About the reference to the poem. When you open it, the link that appears at the top can simply be copied and pasted into the text. After exiting the text input or editing mode, this link will allow you to immediately go to the poem by clicking. All the best! With love and tenderness,
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Girl in a checkered scarf - Alexey Gavrilovich Venetsianov. Canvas, oil. 40.4 x 31.1 cm
Venetsianov devoted his entire life to portraying 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 these works there are a number of canvases with amazing female images. One of them is the described picture.
This little sketch leaves an indelible impression. The artist depicted a young girl, almost a girl. Her image occupies almost the entire space of the canvas. The girl has a bright, spiritual face. She is a classic type of Russian beauty. Clear gray eyes look at the viewer, a half-smile froze on plump lips, cheeks slightly flushed with embarrassment. Her blond hair, parted, is hidden under a large dark blue checkered handkerchief, which she holds up with her hand so that it does not slip off her head.
The handkerchief had great importance in Russian folk costume. It was worn by women of all classes and ages. 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 given 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 girl's status - 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 study was deliberately not worked out by the artist. The master paints a female figure on a brown background. He does not distract the viewer's attention from the girl herself. Her pure image involuntarily attracts the eye and remains in memory.
Venetsianov in his works left us many bright types of serfs. Behind each of them is a person, a living person. The artist shows that the serfs, who were then in a slave position, are capable of elevated feelings. They are strong in spirit, beautiful, with a wide soul, like a Russian field, and a big heart.
His female images peasant women depict women and girls with early years who know what hard work is, but beautiful with their inner world, attractive with natural, natural beauty.
It is not surprising that not all contemporaries appreciated the scale of the provincial artist's talent. Image village life, and even more so serfs without embellishment in best traditions realism, was considered a "low" genre. Venetsianov never became an academician and teacher at the Imperial Academy of Arts, despite the fact that he managed to teach painting to many talented peasant children on his estate.
The artist died in obscurity, but his creations still delight people, glorifying the Russian people and the Russian land.
Composition based on the painting: A. G. Venetsianova "Girl in a headscarf".
Alexei Gavrilovich Venetsiaonov is a master of portrait painting. But in 1819 he refuses to paint portraits to order in the future and leaves to live in the countryside. There he paints pictures about peasant life and the life of the simple Russian people.
On his canvases, peasant women resemble fabulous beauties. They live one life with the surrounding world. It is the beauty of the nature surrounding it and the people working on the earth that A.G. draws. Venetsianov. The painting "Girl in a headscarf" is slightly different from other canvases.
The painting depicts a young girl with a blue checkered scarf over her head. The girl has bright bright eyes. They amaze with some depth, mystery. Her gaze is open. She has not yet experienced sorrow and sorrow. Childishly plump lips give the face of a young peasant woman naivety 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 neatly combed. They are separated by a straight line. It can be assumed that on her back are two thick braids, decorated with ribbons.
The young beauty is modest. Her hand is holding the handkerchief to keep it from slipping off her head. She looks at the artist, but as soon as the master carefully looks at his model, her fluffy eyelashes bashfully cover her eyes. She lowers her gaze to immediately look with her clear gaze at the person drawing her.
Drawing a portrait of a girl in a headscarf, A.G. Venetsianov believes that such a face was 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 young features, admires their virginal purity.
Description of the painting by A. G. Venetsianov "Girl in a headscarf".
On the reverse side the picture has neither a date nor the first and last name of the depicted girl. Mysterious "Girl in a headscarf"; in most reference books it is dated conditionally. There is no mention of this painting either in Venetsianov's correspondence or in the stories of his relatives. Did the author not take his work seriously, did not 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 household genre in Russian painting.
Alexei 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 man. The "drawing official", as they called him at the St. Petersburg Academy of Arts, had long ago developed his own own style letters and personal representation of painting.
In 1823, already an academician of painting, Venetsianov decided to move from St. Petersburg to his village of Safonkovo. The artist does not rejoice at his freedom, his life has since been divided into two parts. Under his brush falls the life of the peasants, scenes from village life, the peasants themselves.
In the painting "Girl in a headscarf"; the artist painted a young peasant woman in an everyday blue headscarf. The eyes of the girl, alive and deep, did not yet know tears and troubles. The look is open, but modest at the same time. Beautiful features, small mouth, plump lips. Hair is parted in a straight parting. The face radiates light and purity. She is still just a child, the artist seems to want to protect her from the future hardships of peasant life. Venetsianov believes wonderful people from the people, for him simple people- the embodiment of the true beauty of Russian mother nature.
Drawing "Girl in a headscarf", Venetsianov wanted to emphasize several external beauty peasant woman, so much her beautiful, pure inner world, simplicity and modesty.
Alexey Gavrilovich Venetsianov.
Painter, lithographer. Master of domestic genre, portrait painter, landscape painter. Born into the family of a poor merchant. Studied in a private boarding school. Since childhood, he discovered the ability and love for drawing, but information about his initial art education not preserved. He showed particular interest in portraiture.
In 1807 Venetsianov entered the service in St. Petersburg. At the same time, he seriously took up painting: he took lessons from V.L. Borovikovsky, copied old masters in the Hermitage.
For "Self-Portrait" (1811, Russian Museum) he received the first academic title of "appointed", for "Portrait of K.I. Golovachevsky, Inspector of the Academy of Arts" (1812, Russian Museum) he was recognized as an academician.
In addition to portraiture, he was successfully engaged in graphics. During Patriotic War 1812 together with I.I. Terebenev and I.A. Ivanov published satirical leaflets 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 Safonkov, 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 train poor young people" according to a new method. The master's students, in some cases serfs, lived and studied with him free of charge. The school functioned alternately in Safonkovo and in 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 in its immediate reality, outside of predetermined norms and canons.
Official academic circles disapproved of Venetsianov's activities. Pupils of Venetsianov did not copy, like academicians, 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, material difficulties increased, 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 - overturned on sharp turn the sleigh dealt him a mortal blow.