Grabar the last snow description of the painting. Visit to the Museum House

Igor Emmanuilovich Grabar - famous name in the history of Russian culture of the 20th century.
Nature endowed I. E. Grabar with many talents, which, to the considerable surprise of those around him, he was able to realize. Became a significant artist, art critic, art critic, restorer, teacher, museum worker, wonderful organizer, even an architect. At the same time, for almost sixty years, thanks to his violent temperament, he was one of the most active participants and leaders artistic life countries.

Self-portrait with palette, 1934

In 1876, Grabar’s parents, who were among the supporters of the Slavic liberation movement, settled in Russia. After graduating from high school, Grabar studied at the Moscow Lyceum (1882-89). He dreamed of painting, tried to be closer to artistic circles, visited all exhibitions, studied the collection of the Tretyakov Gallery and other collections in Moscow.

In the autumn of 1889, at the age of eighteen, almost penniless in his pocket, Grabar went to St. Petersburg. He enters the university, studies there for four years in two faculties at once - law and history and philology - and persistently prepares to enter the Academy of Arts. During this time he earns his living by writing humorous stories and illustrations for magazines. Grabar passed through the stages of admission to the Academy of Arts (1894) and the beginning of his studies there brilliantly and rapidly. Already in 1895, he found himself in the workshop of I. E. Repin, who was very revered by him.

In the summer of 1895, during the holidays, Grabar traveled to Berlin, Paris, Venice, Florence, Rome, and Naples. In Italy he was so shocked by the works of the Renaissance masters, and in Paris by the works of the Impressionists and Post-Impressionists, that Grabar throughout 1896-1900. travels around Europe "for the purpose of detailed and in-depth study of world art and obtaining an architectural education."

Lady at the Piano, 1899

golden leaves
1901
H., m., 78.5x88
Ufa

In 1900, Grabar returned to Russia, and here, according to the artist’s admission, his most “ creative period". After a long separation, he again falls in love with Russian nature, is stunned by the beauty of the Russian winter, endlessly writes a “supernatural tree, a fairy tale tree” - a birch. His most famous works were created in the Moscow region: “September Snow” (1903), “ White winter. Rooks' nests", "February blue", " March snow"(all 1904), "Chrysanthemums" (1905), "Untidy Table" (1907), etc. Grabar writes in the open air, taking into account his achievements French impressionists, but not wanting to blindly imitate them, he writes in Russian, loving “materiality and reality.”

Balustrade,
1901
Oil on canvas, 54x97
Nizhny Tagil

September snow
1903
Oil on canvas, 79x89.

Corner of the estate ( Ray of sunshine),
1901
Hm. 72x53
Smolensk

Ray of sunshine
1901
H., m., 42.5x79
State Tretyakov Gallery

Winter evening
1903
Hm. 54.3x74

1904 February blue. Oil on canvas 90x72 Minsk

"February Azure"
1904
Oil on canvas. 141 x 83 cm
State Tretyakov Gallery

"February Azure" is a majestic "portrait" of a birch tree. We look at it from the bottom up, from a deep trench in the snow, which the author dug and in which he worked, despite the severe frosts, filled with joy from “the chimes and calls of all the colors of the rainbow, united by the blue enamel of the sky.” The landscape is painted in pure colors, the strokes are laid in a dense layer.

"March Snow"
1904
Oil on canvas. 80 x 62 cm
State Tretyakov Gallery

“March Snow” - “a brightly impressionistic piece in concept and texture” - the artist also painted in the open air “with such passion and excitement that he threw paints onto the canvas, as if in a frenzy, without too much thinking and weighing, trying only to convey the dazzling impression of this cheerful major fanfare." In these works, Grabar managed to create another, new one (after the Russian landscape painters XIX century), a generalized image of Russian nature.

Afternoon tea
1904
H., m., 79x101,
Ivanovo

Behind the samovar
1905
Hm. 80x80,
State Tretyakov Gallery

The painting “Behind the Samovar” (1905) was painted at the hour when daylight turns into blue twilight. This pre-evening lighting gave a special life to the picturesque effects - the smoldering light of the samovar, the shine of its metal surface, the play of blue reflexes in the crystal glass. And the girl sitting with a cup by the samovar is included in this picturesque element - the last ray of light gilded her hair and cheek. Here we see for the first time future wife artist and the heroine of many of his portraits, eldest daughter artist Mikhail Mikeshin Valya.

"White winter. Rooks' nests"
1904
Oil on canvas. 102 x 48 cm
State Tretyakov Gallery

Snowdrifts
1904
Oil on canvas. 71x80
Lviv.

"Pavilion in Kuzminki"
1904
Oil on canvas. 80.5 x 103 cm
Saratov State art museum them. A.N. Radishcheva

Spring flow
1904
Hm. 70x89
State Russian Museum

Flowers and fruits on the piano
1904
Hm. 79x101
State Russian Museum

Jar of jam and apples
1904
Hm. 48x49
Uzhgorod

Among the first successful still lifes was the sketch “Jar of Jam and Apples” (1904), which captures the artist’s peculiar manner and his attitude towards what is called “dead nature”. Objects are standing and lying on the table, huddled close to each other. Their close group, with all the still-life immobility, seems to be rushing in a whirlwind of unidirectional strokes. The unity of objects and the lack of space between them enhance the impression of movement. At the head of this family of objects is a jar of jam; it concentrates the light in the painting thanks to the transparency of the glass and the magical color of its contents. Picturesque reflexes, as if shadows were running from object to object, paper wrapping swirling around apples, the edges of paper lids flying up as if in a breeze - everything is subordinated to the idea and form of the impressionistic “stream of life”, which benefits even more from the contrast of meanings: “dead nature” appears more alive than is usually seen and portrayed.

"Chrysanthemums"
1905
Oil on canvas. 98 x 98 cm
State Tretyakov Gallery

As in the landscapes of this time, Grabar’s still lifes embody “pure” impressionism - these are “Lilacs and Forget-Me-Nots”, “Chrysanthemums” (both 1905). About the painting “Lilacs and Forget-Me-Nots” Grabar wrote: “I saw a basket on the piano...densely filled with forget-me-nots, which looked like some kind of plush, marvelous turquoise-colored material. Nearby stood a bouquet of white and purple lilacs in a white jug. I threw another branch of lilac on the piano nearby and began to write...” The still life was a huge success with everyone who saw it.

Lilacs and forget-me-nots
1905
H., m., 80x80
Yaroslavl

Apples
1905
H., m., 71x89
Saratov

May evening, 1905

Frosty morning. Pink rays
1906
H., m. 106.7x98.2
Private meeting

"Winter Morning"
1907
Oil on canvas. 80 x 80.5 cm
Sevastopol Art Museum named after. P.M. Kroshitsky

Blue tablecloth
1907
H., m., 81x80

"Into icy conditions"
1908
Oil on canvas. 107 x 108 cm

The greatest stimulus in painting was the artist’s love for winter. He himself admitted that with the end of winter the landscape became less attractive to him and paintings of nature successfully replaced still life. In 1905-1908 winter theme acquired a certain stable line - its leading motif was the image of frost. The Januarys of 1906 and 1907 passed “under the sign” of frost. Why did this very local winter motif acquire such significance in Grabar’s work? According to him in my own words, working on the frost awakened his “picturesque enthusiasm.” “There are few moments in the world as stunning in their colorful polyphony as a sunny frosty day, where the color scheme, changing every minute, turns into the most fantastic shades for which there are not enough colors on the palette.” One of the main tasks in developing this motif was to combine graphic and pictorial effects, expressing one through the other - this is what creates the most impressive feature of frost, difficult to convey in art. Grabar wrote frost “in all sorts of ways” - its various types, in the morning and evening hours, in the sun and on a sunless day. This was done in the form of small color sketches, since the paint quickly hardened in the cold. Grabar had accumulated about a hundred such sketches - “there was no frost effect during the day that I would not have recorded in this collection.” In the workshop, the sketches began to turn into compositions that made up the suite of paintings “The Day of Frost” (1907-1908).

"Frost"
1905
Oil on canvas. 122.4 x 160.3 cm
Yaroslavl Art Museum

Luxurious frost

1904 Frost
Kirov

Frost
1907-1908
Hm. 102.5x102.5
Kyiv MRI

The tale of frost and rising sun. 1908
Located at the Russian Embassy in Great Britain, London
Oil on canvas. 85 x 125 cm
Private collection

Frost. 1918
Cardboard, oil. 48 x 60 cm
Astrakhan State art gallery them. P.M.Dogadina

Winter evening
1903
Hm. 54.3x74
State Russian Museum

"The Last Snow"
Oil on canvas. 95 x 78.5 cm
State Museum fine arts Kyrgyzstan

"Untidy table"
1907
Oil on canvas. 100 x 96 cm
State Tretyakov Gallery

"Delphinium"
1908

1910-23 the artist called the period of departure from painting and passion for architecture, art history, museum activities, protection of monuments. He conceived and carried out the publication of the first “History of Russian Art” in six volumes (1909-16), wrote the most important sections for it, and published monographs about V. A. Serov and I. I. Levitan.

Pears on a blue tablecloth, 1915

"Pock"
1915
Oil on canvas. 50 x 73 cm
State Tretyakov Gallery

"Morning Tea (In the Alley)"
1917
Oil on canvas. 77 x 87 cm
State Museum of Fine Arts of the Republic of Tatarstan

Red apples on a blue tablecloth
1920
Hm. 82x82
Private collection

"Radiant Morning"
1922
Oil on canvas. 73 x 104 cm
State Historical-Artistic and literary museum-reserve"Abramtsevo"

"Oaks"
1923
Oil on canvas. 100 x 134 cm
Far Eastern Art Museum

For twelve years (1913-25) Grabar headed the Tretyakov Gallery, significantly changing the principles museum work. After the revolution, he did a lot to protect cultural monuments from destruction. In 1918, on the initiative of Grabar, the Central Restoration Workshops were created, with which he would be associated throughout his life and which now bear his name. Many works of ancient Russian art were discovered and saved here.

"Rowan berries"
1924
Oil on canvas. 91 x 75 cm
State Museum-Reserve "Rostov Kremlin"

From 1924 to the end of the 1940s. Grabar again paints a lot and is especially interested in portraits. He depicts his loved ones, paints portraits of scientists and musicians. The artist himself called “Portrait of a Mother” (1924), “Svetlana” (1933), “Portrait of a Daughter against the Background of a Winter Landscape” (1934), “Portrait of a Son” (1935), “Portrait of Academician S. A. Chaplygin” (1935) the best ). Two self-portraits of the artist are also widely known (“Self-portrait with a palette”, 1934; “Self-portrait in a fur coat”, 1947). He also addresses thematic picture- “V.I. Lenin at the direct wire” (1933), “Peasant walkers at a reception with V.I. Lenin” (1938). Of course, he continues to paint landscapes, still preferring snow, sun and a smile to life: “The Last Snow” (1931), “Birch Alley” (1940), “Winter Landscape” (1954), a series of paintings on the theme “Rime Day” .

"On the Lake"
1926
Oil on canvas. 75.5 x 88 cm
State Russian Museum

"Clarified"
1928
Oil on canvas. 67 x 77 cm
State Russian Museum

"Moscow courtyard"
1930
Oil on canvas. 68 x 80 cm
State Russian Museum

Never ceasing to be an artist, Igor Emmanuilovich Grabar continued to love and bless his work in his declining years. He believed that “an artist is more sensitive and flexible than an art critic, his eyes are not so hopelessly closed with blinders, his brain is not so treacherously loaded with history, theory and all sorts of biases...” - and he, who combined these two hypostases, one could judge this better than anyone else. In a friendly cartoon by the Kukryniksy, made in 1951 for Grabar’s eightieth birthday, he is depicted at a desk that is also a palette, his brush connected to a pen, and his paints to ink.

And in the choice of landscape motifs, Grabar retained the same picturesque temperament. Again and again he turned to winter motifs, to the inexhaustible theme of frost - from year to year he writes “Luxurious Frost” and “Day of Frost” (both 1941), “Rime” (1952), “Rime at Sunrise” (1955) . In “Winter Landscape” (1954), the freshness of the embodiment of the natural motif still remains subject to the artist. He picks up the subtlest echoes heavenly blue in blue shadows on the snow. Grabar found the plastic “key” of the landscape motif in the juxtaposition of the dense, prickly greenery of young spruce trees and the transparent lightness of birch trees, as if growing from spruce thickets and dissolving with their pinkish crowns in the blue expanse. Along with the snow, he was still attracted by the sun - in one of Abramtsevo’s letters in 1956, Grabar wrote: “Unfortunately, rainy weather really interferes with my work, and my assignments, as luck would have it, are all sunny...” Last work Grabar - “Birch Alley” (1959), painted in Abramtsevo, became the old artist’s last tribute to the nature of the Moscow region, his favorite landscape image - the Russian birch.

“Abramtsevo. Wattle"
1944
Oil on canvas. 64 x 80 cm
Samara Art Museum

Delphiniums, 1944

"In the garden. Delphinium bed"
1947
Oil on canvas. 79.3 x 102 cm
Kursk State Art Gallery named after. A.A. Deineki

Grabar works in the traditions of Russian realistic painting late XIX c., remaining, as in other areas of his activity, the custodian of Russian culture. " Best vacation there is a change in work," said the artist. If he was not painting, he was teaching, performing, preparing exhibitions or doing art research. Death found him working on a new multi-volume edition of "The History of Russian Art." "We must consider it a blessing for Russian art, that such a person really existed,” S. V. Gerasimov said about him.

Portrait of Valentina Mikhailovna Grabar, artist's wife,
1931

Self-portrait

24.01.2015

Description of the painting by Igor Grabar “March Snow”

“March Snow” was painted by Igor Grabar in 1904, when he was visiting the artist N.V. Meshcherin, his friend, in the village of Churilkovo. Painting snow is a whole art, so Grabar’s words that in “March Snow” he simply “threw paints onto the canvas”, as nature sometimes does, sending them from the sky, ring in a special way here. The picture was almost finished when, on the thawed path, Grabar saw a girl hurrying to fetch water with a rocker and two buckets. Ten minutes later her figure pink skirt and a blue jacket already decorated the picture. Speaking about the style of execution, we can say that this work of the artist was made in the style of divisionism - the decomposition of color, characteristic of impressionism. The snow and even the dirt on the melted path are made with strokes of pure color, merging into one in the viewer’s eyes and becoming white.

A March day in the village is approaching evening, which is why the shadows from the trees are so long, stretching almost across the entire picture. The tree itself is not visible; it seems to be behind the viewer’s back. The crisp, loose snow under the rays of the spring sun becomes increasingly darker, saturated with water, and heavy. This is exactly how Grabar gave it, who found it in snowy tones under the rays of the sun a real symphony paints But his snow is not only in blue and light blue tones. Here you can find a lot of pink and yellowish colors. There was no longer any snow left on the roofs of the village huts visible in the distance and on the trees. Everything indicates that spring is on the threshold, waiting in the wings. Russian nature, continuing to delight Igor Grabar, helped him create another portrait of its simplicity and perfection. It’s not for nothing that the painting “March Snow” is called a “symphony of colors” - the music of our unique and beloved Fatherland can really be heard in it.

March snow

“March Snow” - painting by I.E. Grabar, which depicts a young girl with a rocker in the background rural landscape. The author created his creation according to all the rules of impressionism.

In the painting, Grabar depicted a spring village landscape. The girl goes for water and carries a rocker with two buckets on her shoulder. “Martok has arrived, put on seven trousers” - this folk proverb very relevant, because in Russia the month of March is quite cool and damp. So the girl in the picture is dressed like a March woman: she’s wearing a quilted jacket, long skirt, and on the head there is a scarf made of warm material.

It's getting dark. The shadows of trees are visible in the snow. The snow is slowly melting. There is a well nearby, to which a path leads. The girl heads to the well to fill the buckets with fresh water.

Village huts are visible. The trees have shed the snow from their branches and are looking forward to the arrival of warm spring days. The earth is still covered with a snow-white blanket and has not yet thought of parting with it. Despite the fact that it is calendar spring, winter is still not going to give up its powers of power. However, the breath of spring can already be felt and the snow layer is gradually giving way under the pressure March sun, whose rays heat more and more.

Looking at the picture, one feels the beauty of nature, as well as peace and tranquility. It is very quiet around, and only the girl’s steps can be heard: she is walking on a melted crust of snow, which crunches under her feet. The painting conveys the beauty and harmony of the rural landscape. The author depicts the life of simple villagers Russian outback.

In the viewer the picture evokes only positive emotions, because it is written easily, uncomplicatedly, sincerely. It is clear that the author loves nature very much and, through his talent, conveys to the viewer all the charm and beauty of the countryside.

The painting “March Snow” was painted in 1904. Today it is stored in Tretyakov Gallery. The March day depicted by the author against the backdrop of a rural landscape leaves an extremely pleasant impression on the viewer. Looking at Grabar’s work, the viewer seems to feel nature being reborn from hibernation and enjoying the harmony of nature.

Description of the painting March Snow

The author of the painting “March Snow” I. E. Grabar chose for his canvas a simple plot from village life. Habitual rural landscape, complete with wooden houses and a girl with a rocker. Unusual in this canvas artistic style, which creates an expressive, snowy texture. Confident, generous steps of the brush, painting multi-colored shadows and bright highlights, immediately make it clear to the viewer who the main character is here.

March snow surrounded the entire space with its luxurious, bright mood. The cold, winter whiteness has already receded. The timid spring sun colors the fragile carpet in many expressive shades. A beautiful village woman in bright clothes walks along a dark, melted path. The daily bustle has consumed her, she cannot stop and admire the beautiful March snow.

All landscape elements that make up the plot of the painting are directed beyond the perimeter of the canvas. A small part of a tree is visible in the foreground, the shadows of which create an interesting pattern on the relief snow area. Dark paths lurk behind the scenes. And it seems that the girl is about to leave the picture to leave the viewer alone with this beautiful “March Snow”.

3rd grade. 5th grade.

• Essay on the painting Winter Fun 2nd, 3rd grade

  The guys went out into the yard. There was something for everyone to enjoy. The boy Vitya in a blue jacket and tights rides, nimbly pushing off ski poles along the paved ski track.

• Essay on the painting Grabar's Winter Morning, grade 5

  The painting Grabar's winter morning has a very interesting and even to some extent unusual execution. Looking at this picture, we can see a fabulous winter time, large snowdrifts.

24.01.2015

Description of the painting by Igor Grabar “March Snow”

“March Snow” was painted by Igor Grabar in 1904, when he was visiting the artist N.V. Meshcherin, his friend, in the village of Churilkovo. Painting snow is a whole art, so Grabar’s words that in “March Snow” he simply “threw paints onto the canvas”, as nature sometimes does, sending them from the sky, ring in a special way here. The picture was almost finished when, on the thawed path, Grabar saw a girl hurrying to fetch water with a rocker and two buckets. Ten minutes later, her figure in a pink skirt and blue jacket was already decorating the picture. Speaking about the style of execution, we can say that this work of the artist was made in the style of divisionism - the decomposition of color, characteristic of impressionism. The snow and even the dirt on the melted path are made with strokes of pure color, merging into one in the viewer’s eyes and becoming white.

A March day in the village is approaching evening, which is why the shadows from the trees are so long, stretching almost across the entire picture. The tree itself is not visible; it seems to be behind the viewer’s back. The crisp, loose snow under the rays of the spring sun becomes increasingly darker, saturated with water, and heavy. This is exactly how Grabar conveyed it, who found a real symphony of colors in the snowy tones under the rays of the sun. But his snow is not only in blue and light blue tones. Here you can find a lot of pink and yellowish colors. There was no longer any snow left on the roofs of the village huts visible in the distance and on the trees. Everything indicates that spring is on the threshold, waiting in the wings. Russian nature, continuing to delight Igor Grabar, helped him create another portrait of its simplicity and perfection. It’s not for nothing that the painting “March Snow” is called a “symphony of colors” - the music of our unique and beloved Fatherland can really be heard in it.

March is the first month of spring. It is the most capricious and uncertain, because today the sun may be shining outside the window, but tomorrow the weather will deteriorate and everything around will be gray and cloudy. However, without looking at this, we understand perfectly well that soon the warm season - spring - will take full possession and everything around will forget about the cold and cold for a long time.

Talented artist I.E. Grabar noticed the moment when the ground was still covered with snow everywhere, however, it was no longer so menacing and cold. The snow can easily be called loose and stale. More will pass a little time, and this snow crust will disappear from the face of the earth, saturating the earth with melt water!

A woman is depicted in the center of the painting “March Snow”. She carries buckets of water. I think they are filled to the top, because from the silhouette of the heroine it is clear how heavy and uncomfortable her load is. It seems to me that the girl wants to quickly carry her burden and free herself from the burden. Most likely, her house is located near water source. Otherwise, making frequent trips to fetch water would be an unbearable ordeal.

I.E. Grabar conveys on his canvas the landscape of a real Russian village. Main character dressed in warm and practical things that can warm her even in the most severe frosts. The background depicts small village houses, which are surrounded on all sides by boundless natural spaces. In the foreground of the picture, our attention is drawn to shadows from tree trunks and branches. The artist masterfully plays with light, with the shades depicted in the snow.

Looking at the picture, I would be transported to that clearing, feeling the cool, still frosty air. However, the first warm rays of the sun make it clear that spring is just around the corner. And very soon it will change the created landscape, dissolve the snow and awaken life.