See Vrubel's paintings. Mikhail Vrubel

Mikhail Vrubel became interested in drawing as a child. At the insistence of his father, he was supposed to become a lawyer, but later left this field to enter the Academy of Arts. Mikhail Vrubel painted icons and frescoes, worked with mosaics and drew sketches of theatrical costumes, created scenery and huge paintings. He became the author of the "demonic cycle" - a series of works of paintings, illustrations and sculptures with the main character Demon.

"Real student" Mikhail Vrubel

Mikhail Vrubel was born on March 17, 1856 in Omsk. His father Alexander Vrubel served as a military lawyer. mother was daughter Astrakhan Governor, famous cartographer and admiral Grigory Basargin.

Mikhail Vrubel. Self-portrait. 1904-1905. State Tretyakov Gallery, Moscow

Mikhail Vrubel. Anna Karenina's date with her son. 1878. State Tretyakov Gallery, Moscow

Mikhail Vrubel. Self-portrait. 1885. Kyiv National Museum Russian art, Kyiv, Ukraine

In 1859, the mother of the future artist died of consumption. Four years later, Alexander Vrubel married again: his second wife was Elizaveta Wessel from St. Petersburg. The children have developed good relations with her stepmother: she took up their upbringing, development and even strengthening their health: from birth, Mikhail Vrubel was weak and sickly, he even began to walk only at the age of three. As an adult, he ironically recalled "diet raw meat and fish oils.

Engaged in children and relatives of Elizabeth Wessel. Her sister Alexandra taught them music, and her brother Nikolai, a teacher, tried out new techniques on children - educational games. By the age of ten, Mikhail Vrubel was fond of music, theatrical art and drawing.

However, at the insistence of his father, he entered the law faculty of St. Petersburg University. All expenses for accommodation and study were covered by Nikolai Wessel. IN student years Vrubel was fond of philosophy and theater, created illustrations for literary works. One of the most famous works of that time - a graphic illustration "Anna Karenina's Date with her son", made in black ink on brown paper. Studying at the Faculty of Law did not particularly attract Vrubel: he studied for two years in his second year and could not defend thesis, because of which he received the lowest degree- a valid student.

Icon painter and restorer

IN university years the future artist worked as a tutor and tutor. So he got into the family of sugar refiners Papmeley: he became a tutor of their son, with whom he studied together.

“He [Vrubel] lived at the Papmelas like a native: in the winter he went with them to the opera, in the summer he moved with everyone to the dacha in Peterhof. The Papmels did not deny themselves anything, and everything with them was not like the strict and modest way in the family of Vrubel himself; the house was full bowl even in an overly literal sense.

Alexander Ivanov, artist

Papmeli supported Mikhail Vrubel's passion for drawing. He was introduced to the students of the Academy of Arts, soon Vrubel began attending evening classes there and in 1880 entered the Academy. Future artist got into the workshop of Pavel Chistyakov, and at the same time studied in the watercolor workshop of Ilya Repin. He studied the basics of drawing and painting, mastered watercolor and Chistyakov's special technique: to build volume on canvas, like an architect.

Mikhail Vrubel. Saint Cyril. Iconostasis. 1885. St. Cyril's Church, Kyiv, Ukraine. Photo: artchive.ru

Mikhail Vrubel. Saint Athanasius. Iconostasis. 1885. St. Cyril's Church, Kyiv, Ukraine. Photo: artchive.ru

Mikhail Vrubel. Virgin with Child. Iconostasis. 1885. St. Cyril's Church, Kyiv, Ukraine. Photo: artchive.ru

Mikhail Vrubel. Christ the Savior. Iconostasis. 1885. St. Cyril's Church, Kyiv, Ukraine. Photo: artchive.ru

In the autumn of 1883, Pavel Chistyakov recommended Vrubel to the art historian Adrian Prakhov - he was looking for an artist to restore the ancient St. Cyril's Church in Kyiv. After graduation school year Vrubel moved to Kyiv. He created sketches for the restoration of old frescoes, painted the walls of the church himself, and even painted four icons.

In 1885, the artist left for Italy to get acquainted with Byzantine and late Roman painting. In Ravenna and Venice he studied medieval stained glass and mosaics in Italian churches. During the trip, Mikhail Vrubel worked a lot: he made sketches, painted watercolors, and in one night created a hundred-figure composition “Orpheus in Hell”.

In Venice, Vrubel met Dmitri Mendeleev, who was married to a student of Pavel Chistyakov. The scientist advised the artist to paint icons not on canvas, but on zinc plates in order to protect them from moisture. Over the next month and a half, Vrubel created three such icons - "St. Cyril", "St. Athanasius" and "Christ the Savior".

After returning from Italy, Vrubel briefly went to Odessa, and then again moved to Kyiv. He painted paintings to order, participated in the restoration of the Vladimir Cathedral, gave drawing lessons. At the same time, the first sketches related to his future legendary theme of the Demon appeared.

"Wonderful pathetic symphony" Vrubel

In 1889 Vrubel moved to Moscow. During these years, he, along with well-known artists - Ilya Repin, Ivan Aivazovsky, Ivan Shishkin - worked on illustrations for the Collected Works of Mikhail Lermontov. Among them were drawings for the poem "The Demon". And in parallel, the artist painted a large canvas “Seated Demon”. Later artist created a whole "demonic cycle", consisting of drawings, sculptures and paintings.

“... I am painting a Demon, that is, not exactly a monumental Demon, which I will write over time, but “demonic” - a half-naked, winged, young, sadly pensive figure sits, embracing his knees, against the background of a sunset and looks at a flowering meadow, with which branches are stretched out to her, bending under the flowers.

Mikhail Vrubel

During this period, a special style of the artist began to be developed: he painted canvases with filigree angular strokes, reminiscent of a mosaic.

Soon Vrubel moved from Moscow to Abramtsevo - the estate of Savva Mamontov. He became a member of the Abramtsevo circle, designed the fairy-tale operas of Nikolai Rimsky-Korsakov. In the Mamontov estate, the artist headed the majolica workshop, created plaster sculptures and decorative panels to order, traveled to Italy several times - first with Mamontov himself, then with his son Sergei.

Mikhail Vrubel. The Swan Princess. 1900. State Tretyakov Gallery, Moscow

Mikhail Vrubel. Demon seated. 1890. State Tretyakov Gallery, Moscow

Mikhail Vrubel. Pan. 1899. State Tretyakov Gallery, Moscow

At the beginning of 1896, Mikhail Vrubel met his future wife - opera singer Hope Zabela. He made an offer almost on the same day, and Zabela agreed.

“During the break (I remember standing backstage) I was amazed and even somewhat shocked by the fact that some gentleman ran up to me and, kissing my hand, exclaimed: “A lovely voice!” T. S. Lyubatovich, who was standing here, hastened to introduce me: “Our artist Mikhail Alexandrovich Vrubel,” and said to me aside: “A very expansive person, but quite decent.”

Hope Zabela

By the time of his marriage, Vrubel had practically no money, and he began to create custom-made theatrical costumes and scenery. At the same time, the artist painted pictures on fabulous mythological subjects - "The Swan Princess", "Pan", "Bogatyr".

Decorative panel "Philosophy" was created by Mikhail Alexandrovich Vrubel in 1899. The panel conveys an allegorical scene depicting a girl. Her naked body is covered with a bronze-colored cloth, showing her bare chest. Red hair girl […]

It was drawn by the artist around 1904-1905. To create it, a regular sheet of paper, watercolor, charcoal and a pencil were used. The viewer can openly observe the sad look of the prophet. Vrubel managed to convey in the image the entire […]

Mikhail Vrubel completed this work by order for the design and decoration of the interior. A remarkable structure of a picturesque and colorful panel, the task of which will be to solve the filling of the entire ceiling space. In this picture, the characteristic […]

Stunning work by Mikhail Alexandrovich Vrubel "The Descent of the Holy Spirit on the Apostles" adorns the barrel vault of St. Cyril's Church, located in Kyiv. The work belongs to the first works of the painter. According to the Gospel, the Holy Spirit came to the apostles […]

The portrait from life was painted in 1898. When writing a masterpiece used oil paints. The wife is dressed in a magnificent dress, decorated with a yellow wide belt, a muslin hat adorns her head. In her hands Nadezhda Ivanovna holds […]

The ceramic sculpture "Egyptian" was created by the artist M. A. Vrubel in 1891-1896, when he had just begun to get involved in the manufacture of products from this material. The Creator depicted the beautiful in his plasticity female face– beautiful […]

Mikhail Alexandrovich Vrubel is an artist with a difficult fate. His life is like a drama. A successful young man who, while studying at the Faculty of Law of the University, was carried away by the bohemian lifestyle, fortunately found in himself the […]

Mikhail Vrubel is one of those Russian artists who became the father of Russian Art Nouveau. It was the elements of Art Nouveau that the master used to create a unique masterpiece"The Judgment of Paris". Vrubel used more precise lines, ornaments with hidden and […]

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The purpose of the lesson: consider the connection between Vrubel's paintings and Blok's poem "The Stranger", give an analysis of the poem.

Equipment: reproductions of paintings by Vrubel, computer.

Prepared for the lesson individual tasks:

– A word about Vrubel and his paintings;
- The background of the "Stranger";
- Sound recording of the poem;
– Artistic creativity(author's illustrations) on the topic of the lesson.

During the classes

I. The word of the teacher.

The theme of the city, social injustice, unaccustomed to the early poet, appear in last section Book I of A. Blok.

The lyrics of volume II reflected the changes in Blok's worldview. The events of the surrounding life invade the consciousness of the poet. He depicts a complex, contradictory world of human passions, suffering, struggle, and feels himself involved in everything that happens. There is a split in the author's soul. He is closed in himself, loses touch with the world. Memory does not want to obey soulless laws, it preserves the height, the beauty of the ideal. The soul is looking for a way to reconnect with the world. There is an image of "Stranger".

For many centuries, artists, poets, musicians have turned to the image of the Stranger, beautiful woman, ideal. For some, he remained in dreams, others transferred their fantasies to canvases.

Let's look at the pictures famous artists and we note a striking feature: the images on them are different, but there is a common thing - personal, endured and suffered, which will remain imprinted for centuries, - beautiful image. slide 3, 4.

A. Blok found his ideal in Vrubel's paintings.

II. Word about Vrubel(individual task).

Mikhail Aleksandrovich Vrubel, a brilliant Russian artist of the turn of the 19th–20th centuries, is a master of universal possibilities. Glorified his name in almost all types and genres of fine arts: painting, graphics, decorative sculpture, theatrical - decorative art. He was known as the author of paintings, decorative panels, frescoes, book illustrations. Slide 6-7.

III. The background of A. Blok's poem "The Stranger" (individual task).

At the beginning of 1906, Blok wrote The Stranger. The poem was born from wanderings around the St. Petersburg suburbs. On May 9, 1906, the young writer Yevgeny Ivanov wrote in his diary a story about a trip with Blok out of town. Blok took him to Ozerki, a holiday village near the station of the Finnish Railway. Undertaking to be a guide in this literary walk through the dusty streets of a summer cottage, Blok proved to both his friend and himself the reality of his own fictions. Of course, a special, purely spiritual - but still - the undoubted authenticity of the fantastic event described by him. Subsequently, Blok explained where he saw his stranger in reality - it turns out, in the paintings of Vrubel. Slide 8-10.

IV. Poem by A.A. Blok “The Stranger”.

1. Reading a poem by a teacher.
2. Analysis of the poem:
   - Features of the composition of the poem ( consists of 13 quatrains, the work itself is divided into two parts: a description of the real situation (1-6 stanzas) and a part related to the appearance of the Stranger (7-12 chapters). Both parts are united by feelings, relationships lyrical hero to what is being depicted. The poem is built on the contrast of pictures and images, opposed and reflected in each other).
   - Define key images the real world and the attitude of the author to them.
   A) restaurants, hot air, the shouts of drunkards, the spirit of spring and pernicious;
   B) dust, boredom, pretzel, children's crying;
   C) evening, barriers, ditches, experienced wits with ladies;
   D) a lake, oarlocks, a female squeal, a disk in the sky;
   D) evening, glass-friend, tart and mysterious moisture;
   E) neighboring tables, sleepy lackeys, drunkards with rabbit eyes.
   – What can be said about this world and the author’s attitude towards it?

Conclusion 1. Before us is a picture of unbridled vulgarity that infects everything around. The situation is pumped up with the help of cutting sounds. Even the moon becomes a soulless disk, like the jokes of experienced wits.

- How does the dream world, the imaginary world appear? Name its key characters.
A) evening, appointed hour, sleep, girlish camp, silks;
B) spirits, mists, one;
C) ancient beliefs, silks, a hat with feathers, a narrow hand in rings;
D) veil, coast, distance;
D) secrets, sun, soul, bends, wine;
E) ostrich feathers, brain, eyes, shore.
– What can be said about the lexical layer of the 2nd part?

Conclusion 2. The vocabulary is high, the rhythm is bewitching. Here the title image appears - the Stranger. Rapidly rushing in, it seems to freeze in the window frame. IN further action characterizes only the lyrical hero.

The image of the Stranger is full of poetic charm. It is alien to the surrounding reality.

The loneliness of the Stranger and the lyrical hero distinguishes them from the crowd, attracting them to each other.

Beauty, truth, poetry find themselves in an inseparable unity.

V. The sound of the poem.

An interesting approach to solving the problem of creating a figurative system is used by A. Blok.

In the 1st part of the poem, there is a deliberate heap of hard-to-pronounce consonants. slide 11. The vocabulary of this part is emphatically “grounded”, the assessments are negative.

The difference between the 2nd movement and the 1st movement can already be seen at the level of sounds. The poet minimizes difficult consonants, giving preference to sonorous sounds.

The appearance of the heroine is accompanied by alliteration and assonances of rare beauty, creating a feeling of lightness of the image. slide 12.

VII. Homework. Learn a poem.

Vrubel Mikhail Aleksandrovich (Mikhail Vrubel), Russian artist, the largest representative of symbolism and modernity in Russian fine arts. Born in Omsk on March 5 (17), 1856. Vrubel studied at the St. Petersburg Academy of Arts (1880–1884) with Pavel Petrovich Chistyakov; I took watercolor lessons from Ilya Efimovich Repin. Painting had a special influence on Vrubel Venetian Renaissance(from contemporaries - the Spaniard M. Fortuny and English Pre-Raphaelites). Vrubel's original style - a special kind of crystalline pattern, shimmering with tones of "blue-lilac world twilight" - was finally formed in his Kyiv years(1884-1889), and in line with church art. Invited for the restoration of St. Cyril's Church (12th century), Vrubel in a number of cases had to perform new compositions (in particular, the Descent of the Holy Spirit, 1884); at the same time, the artist also painted the icon of the Mother of God with the Child (Kiev Museum of Russian Art). Byzantine tradition is saturated here with the sharp, tragically intense psychologism of modern times.

The enchanting splendor of Vrubel's coloring was fully manifested in the painting The Girl Against the Background of a Persian Carpet (1886, ibid.). After moving to Moscow, Vrubel becomes one of the most active members of the artistic group Savva Mamontov. Here the painter paints a number of his best paintings, works in majolica - sculptures of Tsar Berendey, Lel, Volkhov - all in the Tretyakov Gallery, Moscow, referring to design, performs sketches of a ceramic stove, vase, bench (Museum in Abramtsevo). The “Russian style” of these things finds expression in his scenography associated with Savva Ivanovich Mamontov’s Moscow Private Russian Opera, including the design of Sadko (1897) and The Tale of Tsar Saltan (1900) by Nikolai Andreevich Rimsky-Korsakov. Vrubel's talent as a decorator is also evident in his huge panel painting Princess of Dreams, commissioned for the Nizhny Novgorod Fair (1896, Tretyakov Gallery).

Atmosphere fairy tale, characteristic of the paintings of Pan (1899), the Swan Princess, By Night, Lilac (all 1900), is permeated with a sense of dark chaos, characteristic of symbolism, lurking behind the outer covers of the universe. Expressive-dramatic and portraits (K. D. and M. I. Artsybushev, as well as Savva Mamontov, all three 1897; all works - in the Tretyakov Gallery). The underlying tragedy culminates in those Vrubel images that go back to his illustrations for Lermontov's poem The Demon (watercolor, whitewash, 1890–1891, the Tretyakov Gallery and the Russian Museum, St. ; both works - Tretyakov Gallery).

A conglomerate of sparkling shapes in last picture close to non-objective art. In 1902, Vrubel was struck by a severe mental illness, but even in his later period (carried out mainly in private clinics in Moscow and St. Petersburg), he creates many works of exquisite craftsmanship (Zhemchuzhina, 1904; Portrait of Valery Yakovlevich Bryusov, 1906), - works that are transitional from modern to avant-garde. In 1906 the artist went blind. Vrubel died in St. Petersburg on April 1 (14), 1910. The influence of his art was universal: in one way or another, almost all the major masters of Russian art of the 20th century experienced it.

The first Russian symbolist Mikhail Vrubel had a special manner of performing his works of art, so that his paintings are difficult to confuse with the works of other artists. All who knew the artist and his friends noted the special temperament and peculiar character of the master, which was reflected in his wonderful works. Let's take a closer look at the work of the great Russian artist and present a gallery of the most famous paintings Mikhail Vrubel.

A little biography and features of creativity ...

Portrait of Vrubel

Vrubel Mikhail Alexandrovich was born in 1856 in the city of Omsk, and for 10 years little Misha showed artistic abilities, including drawing. Neither his relatives, nor he himself thought that he would become an artist, but already his first sketches and sketches testified to his great creative potential.

Over time, while studying at the Academy of Arts, Vrubel developed a special artistic manner, as they say, your handwriting. The fact that the demon became the main character of his works gave rise to many rumors that the artist sold his soul to the devil, and when a resident underworld revealed his true face to the master, Mikhail Vrubel went blind and lost his mind.

The artist traveled a lot, so let's imagine the moments of the master's insight and painting in time and space.

Kyiv period. 1880-1889

Over the five years of his life in Kyiv, the artist completed a huge amount of work, but most importantly, he was able to touch and absorb the origins of Russian painting.

On the choirs of St. Cyril's Church, which Vrubel himself painted, he depicted a monumental fresco "The Descent of the Holy Spirit on the Apostles." The master managed to accurately combine the origins of the Byzantine style of icon painting with his own portrait research.

To paint the figures of the apostles and the Mother of God, the artist used real prototypes people with whom he communicated during his life in Kyiv.

The icon painted by Vrubel for the iconostasis of St. Cyril's Church glorified the artist and became the starting point on his creative path.

According to experts, the icon was made according to all the canons of Christian iconography, but Vrubel brought portrait expressiveness and unusualness to it.

It was rumored that the master was secretly in love with the wife of his customer, the art historian Adrian Prakhov, and it was she, Emilia, and their youngest daughter who looked at the parishioners of the church from the icon.

There are many self-portraits in the artist's creative piggy bank, but this one, painted during his stay in Kyiv, most accurately conveys the character traits and aspirations of the master.

Graphics occupied a special place in creativity, and the self-portrait was made in this manner. Purposeful, but a little tense look, as if symbolizing that the artist is still in creative search, is still looking for his own special manner of conveying reality on canvas and in sculpture.

Blurred contours also indicate a search young artist, but in the confidently drawn pencil lines, the firm hand of the master is already felt.

Returning to Kyiv after a trip to Italy, Vrubel again plunged headlong into creativity, and one of the Kyiv entrepreneurs ordered him to paint a portrait of his daughter.

Vrubel, as always, thoroughly approached the matter, and completed the portrait in a manner that experts called "portrait-fantasy". And here the inconsistency of the artist's nature is in the hands of a girl beautiful roses and a sharp dagger nearby.

In the summer of 2018, Ukrposhta issued a stamp with a face value of 5 hryvnias, which depicts this painting by the painter and the signature: “Vrubel Mikhailo Oleksandrovych”.

Moscow. 1890-1902

It was in Moscow that the most famous painting was painted under the influence of the work of Mikhail Lermontov.

Seated surrounded by unusual flowers, the Demon, arms folded, looks sadly into the distance. Working on illustrating the works of M. Lermontov, Vrubel managed to accurately convey the image literary hero. His Demon embodied human traits, internal contradictions, fortitude and constant doubt.

It seems that the image of the Demon, made on canvas, finally confirms that the doubting master has found his own special style.

For lovers underworld and travel - our stuff.

Vrubel lived in Russian culture and found inspiration in it. The painting "The Swan Princess" was written under the influence of Nikolai Rimsky-Korsakov's opera based on the fairy tale by Alexander Pushkin.

The artist worked on the scenery for the production, and his first wife played the princess. Vrubel's image of the princess is sad and mysterious, and it contains great symbolism, and the work itself is a real gem of his creative collection.

The picture is far from the stage image, because Vrubel embodied in the picture all the duality of the swan essence - the desire for heaven, something bright, and the desire for dark waters sea ​​depths.

This is not a painting, but an illustration for the work of Mikhail Lermontov "The Demon". But in terms of artistic performance and transmission of images, this illustration occupies an important place in the artist's work.

Executed in black watercolor, the illustration conveys the whole tragedy of the Demon's meeting with Tamara, and in the mood of the picture, the artist's beginning illness is already visible.

In all illustrations, the Demon is in one unchanged pose, " fallen Angel", firmly settled in the world dark forces. But Tamara is always in different poses than the artist emphasized doubts about her choice - between heavenly and earthly.

Moving away from the image of the demon, Vrubel, with his inherent passion, began to write fairy tales.

This canvas is considered the most famous panel Russian capital, and his artist wrote based on the drama of Edmond Rostand. At this time, he painted two canvases that were to be exhibited at an industrial exhibition in Nizhny Novgorod. But the commission did not allow them to view.

Savva Morozov wanted to save the situation by exhibiting "Princess of the Dream" and "Mikula Selyaninovich" in his own pavilion, but the public hostilely accepted the pictures.

Mikhail Vrubel's unfinished painting was the painter's return to the theme of the Demon after an 8-year break.

The work itself is made in dark, gloomy colors. The demon is wearing a brown tunic tied with a belt. He soared over the mountains of the Caucasus and the river, but most of the details are not traced, so the final plan is not clear.

The demon flies, just as the artist himself wanted to take off, but in the manner and dark tones of the picture it is clear that Vrubel was already very ill. And the symbolism manifested itself in its incompleteness ...

In 1901, Nadezhda Zabela and Mikhail Vrubel had a son, who was named Savva. A physically strong and healthy boy had a defect - he had a cleft lip.

The painter blamed only himself for this, but, interrupting work on The Demon Downcast, he created a portrait of Savvushka. Looks at us from the picture child's face, but distorted by fright and a serious look.

The description of the picture is always accompanied by a note that the birth of a son with a "cleft lip", and more - his sudden death in 1903 year, - still more plunged the artist into depression.

Last works

The idea to write this plot was born in 1899, and the upheavals of life and a progressive illness finally confirmed the author in the correctness of the choice, and in 1902 Vrubel completed his canvas.

The beautiful background of the picture is Mountain landscape, bathed in the light of the scarlet setting sun, and in the foreground - the figure defeated demon. It is, as it were, sandwiched between the upper and lower edges of the picture, and cannot escape.

Exhibited in St. Petersburg at the World of Arts exhibition, the painting created a real sensation, and the early public watched the author rewrite his canvas.

The last large-scale work of the painter, created on the walls of the hospital by V.P. Serbian, became the pinnacle of his work.

This synthesis of bright colors and expression fully revealed creative potential and the skill of a craftsman in painting. The look of Seraphim exudes confidence and hope, and the sword and lamp in the hands of an angel are bright symbols of the struggle of opposites.

This magnificent work of Vrubel is also known under other names - "Azrael", as well as "Angel with a sword and a censer".

This portrait appeared due to the fact that Vrubel, who had already completely lost touch with reality, was allowed to paint in short moments of enlightenment.

The Russian poet himself posed for the artist in the morning, and a little later the artist Valentin Serov came to the hospital ward and painted a portrait of Vrubel himself in the evenings.

And so it happened at one time from under the brush of two great Russian artists two portraits - the poet Valery Bryusov and the painter Mikhail Vrubel.

Interesting facts of the life of Mikhail Vrubel ...

• Vrubel started painting the image of the Demon while painting the St. Cyril's Church. In this, the contradictory nature of the artist was manifested. Drawing bright images of angels on icons, he draws sketches of demons in the studio.
• While working on the work, the artist often changed the original idea. So in the painting "Pearl Shell" images of sea princesses appeared.
• Rather a sad fact, but mental anguish And life tragedies, ultimately led Vrubel to mental asylum. He started creative way from the painting of the St. Cyril's Church, which stands on the territory of the hospital, in the hospital and ended his life.
• The painting "Demon Defeated" was already cheerful in the gallery, and the artist came and rewrote his defeated demon again.
• During his lifetime, he was not recognized as an artist, his work was laughed at. But one day his artist friends did big exhibition his paintings ... Vrubel was recognized, but it was too late, he was already seriously ill by that time.
• On the evening before his death, Vrubel opened the window and, breathing in the frosty air, said, "Let's go to the Academy!" The next day, a memorial service began at the Academy of Arts to say goodbye to the artist, and funeral lamentation spread throughout the district.

Vrubel died in 1910, and scientists and art historians are still arguing about his place in Russian and world art. But one thing is clear - Mikhail Alexandrovich Vrubel, like a comet, swept through life, leaving his unique and bright mark on the sky of Russian and world culture.

Surrounded by people, he remained alone all his life, having made his way from a hermit-alchemist to a prophet, with his creativity far ahead of his time, predicting in his paintings some events of his own life.