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Portrait Vari Adoratsky
Nicolai Fechin • Painting, 1914, 135×145 cm
Description of the artwork «Portrait Vari Adoratsky»
Barbara Adoratsky – the niece of a friend and pupil of Nikolay Feshin, Kazan artist and the patron of Hope Sapozhnikova. "Portrait Vari" is one of the most, perhaps the most successful implementation of children's topics Feshin. As soon as the audience saw this picture, it immediately began to compare with "Girl with peaches" Valentin Serov. They do apparently have something in common. In both cases, the child portrait is not just a child in the interior, is the complete lack of emotion and a lisping breath of fresh air, is the embodiment of the world of childhood is clean, bright and gives hope to all of us.
Feshin extravagant uses a compositional technique: the girl is sitting on the table. This gives the painting a special charm and emphasizes the isolation of the space is cheery, bright, bright, in which the beloved child is much. It is a protected world (meanwhile, in the yard in 1914, the First world war). The face of Varvara shines with purity and clarity of the children's attitude, the still life in the foreground a combination of slight negligence and disorder (here played child!) and the amazing perfection. It's not a formal portrait, it's part of life alive, moving, perhaps, somewhat shy girl with an inquisitive glance. Cooking herself recalled: "I was 9 years old, I was rather shy of dick and..."
Since "Portrait of Vadi Adoratsky," the artist often turned to form a composite portrait-painting. But we in any case not a "portrait on the background of accessories". The girl and interior design are inseparable – this is the environment in which alone it can live, a child with such a clear view. In addition to semantic load, interior color performs an important task. Surprisingly, such a bright, happy space, talking about a healthy, happy life, created, in fact, grey. But Fechin grey is the color of peace and prosperity, diffused light of day, he breathes, lives and shimmers like mother of pearl, is a bright background that creates the security. Bright accents make a pure color of orange, yellow and blue. Gradation of cool colors comes to black, warm up to Sunny. The lightest touch – white girl dress takes on a special warmth on a cool background of the walls.
Feshin frequently used such technical contrast: a fairly restrained palette and expression of drawing brush strokes and blending colors. Perfectly the play of textures: smooth skin, thin dress, transparent glass, shiny kettle, frosted fruit and cool vase.
In fact, Feshin wrote Cook is not in the nursery, and the Studio Hopes Sapozhnikova. Grown-up Barbara Adoratsky recalled that the pose she was not very comfortable, the constantly numb feet. Vari's father refused to purchase the portrait, and it took Nadezhda Sapozhnikova. After her death, she willed the painting to her character. In the Pushkin Museum of Tatarstan, the portrait was transferred in 1964.
Children's theme occupies an important place in the legacy of Mao. Especially often he wrote to his daughter UW. Already emigrated to the United States, Feshin will write a paraphrase of the "Portrait Vari Adoratsky", impressionistic painting "Iya with melon". Sleepy Iya in her nightgown sitting on the table, in the hands of her melons, near her fruity-floral still life, the background is a drape. The girl is also off-center to the side. In the us the picture is clearly opposed to the density of the portrait and still life: fruit tangible, densely written, and the girl seems to be glowing, translucent.
Author: Alain Esaulova
Feshin extravagant uses a compositional technique: the girl is sitting on the table. This gives the painting a special charm and emphasizes the isolation of the space is cheery, bright, bright, in which the beloved child is much. It is a protected world (meanwhile, in the yard in 1914, the First world war). The face of Varvara shines with purity and clarity of the children's attitude, the still life in the foreground a combination of slight negligence and disorder (here played child!) and the amazing perfection. It's not a formal portrait, it's part of life alive, moving, perhaps, somewhat shy girl with an inquisitive glance. Cooking herself recalled: "I was 9 years old, I was rather shy of dick and..."
Since "Portrait of Vadi Adoratsky," the artist often turned to form a composite portrait-painting. But we in any case not a "portrait on the background of accessories". The girl and interior design are inseparable – this is the environment in which alone it can live, a child with such a clear view. In addition to semantic load, interior color performs an important task. Surprisingly, such a bright, happy space, talking about a healthy, happy life, created, in fact, grey. But Fechin grey is the color of peace and prosperity, diffused light of day, he breathes, lives and shimmers like mother of pearl, is a bright background that creates the security. Bright accents make a pure color of orange, yellow and blue. Gradation of cool colors comes to black, warm up to Sunny. The lightest touch – white girl dress takes on a special warmth on a cool background of the walls.
Feshin frequently used such technical contrast: a fairly restrained palette and expression of drawing brush strokes and blending colors. Perfectly the play of textures: smooth skin, thin dress, transparent glass, shiny kettle, frosted fruit and cool vase.
In fact, Feshin wrote Cook is not in the nursery, and the Studio Hopes Sapozhnikova. Grown-up Barbara Adoratsky recalled that the pose she was not very comfortable, the constantly numb feet. Vari's father refused to purchase the portrait, and it took Nadezhda Sapozhnikova. After her death, she willed the painting to her character. In the Pushkin Museum of Tatarstan, the portrait was transferred in 1964.
Children's theme occupies an important place in the legacy of Mao. Especially often he wrote to his daughter UW. Already emigrated to the United States, Feshin will write a paraphrase of the "Portrait Vari Adoratsky", impressionistic painting "Iya with melon". Sleepy Iya in her nightgown sitting on the table, in the hands of her melons, near her fruity-floral still life, the background is a drape. The girl is also off-center to the side. In the us the picture is clearly opposed to the density of the portrait and still life: fruit tangible, densely written, and the girl seems to be glowing, translucent.
Author: Alain Esaulova
