By Parkstone Press
The Moscow artists who started to movement in the direction of Impressionism within the Eighteen Eighties renowned the works of the younger Serov, his pastoral landscapes so essentially revealing the lyricism of modest occasions in lifestyle. Benefi ting from the guideline of his lecturers, Repine and Tchistiakov, he grew to become the fi nest Russian portraitist of his iteration. His ability is obvious in a few of his most lovely work, “Young woman with peaches” or “Ulysses and Nausicaa”. Serov’s inventive paintings and event opened the way in which for Russian portray to develop into a part of pictorial paintings within the twentieth century.
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Extra info for Valentin Serov (Best Of Collection)
Qxp 1/10/2012 11:11 AM Page 55 Bullocks (study), 1885. 5 cm. The State Tretyakov Gallery, Moscow. qxp 1/10/2012 11:12 AM Page 57 and artistry, of effortless ease that Serov’s paintings often produce is actually the result of calculation. From the 1890s onwards, the prevailing tendancy was that the eye became of secondary importance to the painter, who painted what he chose to see. These are the principles that underlie the works of Serov’s mature and late periods. Another important element of Serov’s art, which first manifested itself in the early 1890s and stayed with him to the end, is the type of personality he chose for his ideal.
In the late 1890s, Repin’s pupils in the St Petersburg Academy of Arts, particularly Boris Kustodiev and Philip Maliavin, emulated their teacher, and they cultivated a free painterly manner and a sweeping, resolute brushstroke that set the stage for the decorative trend in early 20th-century painting. This was the style seemingly adopted by the Serov of the 1890s and early 1900s, who enriched it with his own striking individuality. Serov joined the World of Art group when it was created in the late 1890s, and soon gained undisputed authority among its members.
Posing, Levitan himself wittingly suggests the theme of selfcontemplation where Serov enhances it by means of light and colour and with the aid of accessories. In the portrait of Leskov, it is the look in the writer’s eyes that rivets our attention, the wary, troubled, tragic look of a man standing on the threshold of the grave. Serov unshrouds that gaze by dispensing with details, neutralising the entire canvas with tranquil painting and allowing freedom of expression only to the eyes. The same principle was later used by Serov, with equal brilliance, in Portrait of Sophia Dragomirova-Lukomskaya (p.